PRACTICE  BOOK  IN 
ENGLISH  COMPOSITION 

ALFRED  :  M:  HITCHCOCK 


«    \ 


THE  LIBRARY 

OF 

THE  UNIVERSITY 

OF  CALIFORNIA 

LOS  ANGELES 


GIFT  OB 

Dr.   Waldemar  Vies tergaard 


tymjL^t^.o^  ^^-j^ 


A  PRACTICE-BOOK 


IN 


ENGLISH    COMPOSITION 


BY 

ALFRED    M.    HITCHCOCK 

Hartford  Public  High  School 


NEW   YORK 

HENPwY    HOLT    AND    COMLANY 

1907 


Copyright,  1906 

BV 

HENRY  HOLT   AND  COMPANY 


ROBERT  DRUMMOND,   PRINTER.   NEW   YORK. 


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PREFACE 

Present  day  conditions  seem  to  call  for  a  very 
plain,  practical  text-book,  brief,  yet  sufficiently 
varied  in  contents  to  provide  both  oral  work  and 
written  work,  home  tasks  and  unprepared  class- 
room drill;  a  course  so  contrived  that  definite,  de- 
sirable results  may  be  obtained  without  over- 
burdening the  teacher. 

The  Practice-book  attempts  to  meet  these  con- 
ditions. It  is  not  a  rhetoric  nor  a  complete 
manual  of  composition.  Instead  of  elaborate 
statements  of  theories,  principles,  and  rules,  it 
contains  merely  a  few  simple  suggestions  slipped 
in  here  and  there  informally — cautions  against 
common  errors,  and  hints  in  regard  to  how 
compositions  may  be  made  effective.  Models 
are  used  sparingly,  partly  because  the  youthful 
mind  learns  to  express  itself  more  freely  and 
with  greater  power  when  not  asked  too  often  to 
imitate,  and  partly  because  the  most  inspiring 
models  are  not  extracts  from  the  great  master- 


111 


iv  PREFACE 

pieces  but  the  clever  little  compositions  which 
every  teacher  is  sure  to  receive  now  and  then. 

No  small  part  of  the  book  is  made  up  of  exer- 
cises in  spelling,  punctuation,  and  sentence- 
structure.  Drill  of  this  kind  is  not  popular,  but 
practiced  teachers  realize  that,  to-day  as  never 
before,  it  is  necessary.  Nor  do  such  teachers 
fear  in  the  least  that  drill  in  mechanical  accuracy 
will  check  spontaneity.  Spontaneity  that  sprawls, 
and  tangles,  and  disregards  grammar  and  dic- 
tionary had  better  be  checked.  Genius  some- 
times rebels,  but  it  cannot  be  killed;  it  is  the 
last  thing  a  teacher  need  worry  about.  Nor  is 
it  any  longer  considered  a  pedagogic  crime  to 
place  before  the  eyes  of  the  impressionable  young 
a  faulty  sentence  and  say  This  is  wrong.  Why 
is  it  wrong  ?  How  can  it  he  made  right  ?  Some 
errors,  to  be  sure,  disappear  of  their  own  accord; 
but  others  remain  and  torment  till  they  are  rooted 
out. 

In  arrangement  the  Practice-hook  differs  from 
the  ordinary.  It  is  divided  into  two  sections. 
Part  I  calls  for  short  compositions,  ora,l  and 
written;  Part  II  takes  up  an  entirely  different 
kind  of  work,  training  in  mechanical  accuracy. 
The  usual  method  of  combining  more  closely  these 
two  branches  has  not  been  adopted,  first,  be- 
cause they  are  distinct,  to  a  degree  hostile  to  each 


.\( 


other,   and  should  thcreforo   he   kept  separate; 
second,  because  no  text-book  maker  is  sufHciently 
wise  to  be  able  to  foresee  at  what  point  in  the 
course  this   or  that   error   will    need   correction 
through  special  drill.     It  has  seemed  better  to 
place  by  themselves  all  corrective  exercises  and 
assume  that  the  teacher  will  have  wit  enough  to 
turn  to  them  at  the  proper  time,  using  them  now 
to  exterminate  an  evil  which  threatens  to  be- 
come epidemic,  now  to  avoid  errors  which  ex- 
perience tells  him  are  reasonably  sure  to  appear. 
Since  the  exercises  in  Part  II  are  to  be  taken  as 
occasion  requires,  and  not  necessarily  in  the  order 
in  which  they  appear  in  the  book,  they  are  but 
loosely  grouped.     Part  I  is  far  more  carefully 
organized.     Yet  here  too  it  may  well  be  that  the 
sequence  recommended  will  not  please  everybody. 
Some  prefer  to  place  exposition  after  description, 
others  to   place  letter-writing   first   of  all.     In 
recognition  of  this  difference  in  practice,  each 
chapter  has  been  made  a  brief  course  by  itself, 
reasonably  independent,  so  that  changes  may  be 
made    without    seriously    interfering    with    the 
general    plan.     The   order   recommended,    how- 
ever, is  not  the  result  of  caprice;  it  has  been  care- 
fully thought  out  and  thoroughly  tested. 

Of  the  many  text-books  which  have  appeared 
during  the  past  fifteen  years,  three  have  been 


vi  PREFACE 

most  helpful  to  the  maker  of  this  little  work, 
not  necessarily  because  better  than  the  rest,  but 
because  they  brought  to  a  struggling  teacher 
what  at  the  time  he  needed  most.  These  are 
Wendell's  well-known  English  Compositiofi  and 
two  elementary  manuals,  Chittenden's  Elements 
of  English  Composition  and  Newcomer's  English 
Composition.  From  more  recent  works  have 
come  many  suggestions  which  should  be  specific- 
ally acknowledged  were  it  possible  to  do  so. 
Where  hundreds  of  able,  enthusiastic  teachers 
are  experimenting,  inventing,  it  is  difficult  to  de- 
termine priority.  But  nice  acknowledgment  is 
perhaps  unnecessary  on  the  part  of  one  who 
wishes  simply  to  share  with  others  what  he  has 
found  usable  in  his  own  classes.  Thanks  are  due 
to  several  publishers  for  permission  to  reprint 
copyrighted  material.  In  every  case  this  cour- 
tesy is  acknowledged  in  the  form  of  a  foot- 
note. Special  mention  should  be  made,  however, 
of  three  photographs  kindly  furnished  by  Mr. 
Eugene  D.  Field  of  Hartford. 


CONTENTS 


PART  I 

C'llMTKIl  PACK 

A  Pbeuminary  Word  to  the  PTi-ir. xi 

1.  Narration 3 

II.   Narration — Conlinued 13 

III.  KxposiTioN 22 

IV.  Description 36 

V.   Description — Continued .  .    42 

V'l.   Argument 49 

V'll.   Letter- WRITING 58 

VIII.   Letter- WRITING — Continued. .' 70 

IX.   Letter- WRITING — Continued 82 

X.  Story-telling 89 

XL  Miscellaneous 99 

PART  II 

Xn.  Sentence  Analysis 113 

XIII.  Substitution  and  Combination 1 19 

XIV.  Unity 137 

XV.  Coherence 144 

XVI.  Coherence — Continued 154 

XVII.   Punctuation 163 

XVIIL  Spelling 188 

XIX.  Troublesome  Verbs 199 

XX.  Correcting  Proof 217 

vii 


ILLUSTRATIONS 


TO   FACE    PAGE 

Young  Handel 12 

Franklin's  Birthplace 36 

The  Old  Home 38 

The  Dining-room 40 

Rydal  Water 44 

Song  of  the  Lakk 4G 

The  Last  Muster 98 

Snow-bound 102 

The  Untravelled  Road 104 

The  Visit 110 

ix 


A  PRELIMlNAin'   WORD  To  TIIK    PUPIL 

In  Scott's  Ivanhoe  when  the  mysterious  Bhick 
Knight  and  his  doughty  companions  are  about 
to  storm  Torquilstone  Castle,  they  prepare  a 
challenge,  as  was  the  custom  seven  hundred 
years  ago.  The  archer  Locksley  signs  this  docu- 
ment not  by  writing  his  name  but  by  drawing  a 
picture  of  an  arrow.  The  jester  Wamba  uses  a 
cock's  head  for  his  mark,  and  a  rude  cross 
suffices  for  Gurth  the  swineherd.  Apparently, 
of  all  the  attacking  party  the  Black  Knight 
alone  knows  how  to  write.  And  when  the 
challenge  is  delivered  to  the  lord  of  the  castle, 
he  turns  it  this  way  and  that  as  if  it  were  a  puzzle, 
then  hands  it  to  a  fellow  Norman,  who  promptly 
confesses  that  he  too  can  neither  read  nor  write. 
Scott's  descriptions  may  not  be  literally  exact; 
yet  doubtless  most  of  even  the  great  men  of 
the  Middle  Ages  lived,  fought,  and  died  without 
ever  learning  to  write. 

If  we  may  trust  a  recent  newspaper  item,  from 

xi 


xii  A  WORD  TO  THE   PUPIL 

900,000  to  1,000,000  letters  are  mailed  at  the 
general  post-office  in  New  York  City  between 
four  in  the  afternoon  and  nine  at  night  every 
business  day.  Think,  then,  of  all  the  letters 
written  daily  in  all  the  world,  of  the  newspapers 
and  the  magazines  and  the  books,  of  the  pens 
that  race  and  the  typewriters  that  clatter  day 
in  and  day  out  from  one  end  of  the  year  to  the 
other.     Times  have  indeed  changed. 

Occasionally  we  may  wish  that  times  had  not 
changed  so  much.  Spelling  books,  grammars, 
and  composition  manuals,  comparatively  recent 
inventions,  bring  little  joy.  When  struggling  to 
put  on  paper  a  few  simple  statements  which  would 
be  easy  enough  to  make  by  word  of  mouth,  we 
may  vainly  wish  we  had  been  born  centuries  ago 
when  the  battle-axe  was  mightier  than  the  pen. 
Sometimes  we  foolishly  try  to  persuade  ourselves 
that  even  to-day  it  is  possible  to  get  along  fairly 
well  with  only  very  slight  skill  in  expressing  our- 
selves. Many,  it  is  argued,  do  succeed  who  can- 
not even  write  a  moderately  correct  letter. 

But  such  reasoning  is  not  sound.  It  is  possible, 
of  course,  for  a  cripple  to  limp  from  San  Francisco 
to  New  Orleans;  but  he  had  better  travel  by 
train,  if  he  can.  It  may  be  possible,  under  some 
circumstances,  to  succeed  in  life  without  skill  as  a 
writer;  but  those  who  have  so  succeeded  will  tell 


A    WOIM)   TO   nil-:    I'llMI.  xiii 

you  that  success  came  to  thciii  in  spite  of  this 
drawback,  not  Ix'cause  oi  it.  A^aiii  ami  a;^Miii 
have  they  lost  time,  money,  pleasun-,  opportu- 
nity to  serve  others,  because  of  their  inability  to 
express  themselves  with  ease  and  force.  They 
will  say  emphatically  that  though  by  itself  mere 
ability  to  write  and  talk  effectively  is  of  no  value, 
it  is  a  most  necessary  aid,  no  matter  what  one's 
lot  in  life  may  be. 

Nor  is  it  wise  to  assume  that  all  the  skill  needed 
may  be  acquired  without  special  training;  that 
through  daily  conversation,  through  reading  news- 
papers and  books,  and  through  writing  now  and 
then  a  letter  one  can  gain  all  the  power  that  is 
necessary.  Some  kinds  of  conversation,  some 
kinds  of  reading  and  letter-writing,  are  indeed  a 
very  great  help.  It  would  be  pleasant  if  they  were 
the  only  aids  necessary.  But  they  are  not.  The 
football  player  acquires  vim,  quickness,  ability 
to  meet  emergency,  not  by  playing  a  game  now 
and  then,  but  through  hard,  systematic  training. 
The  West  Point  cadet  cannot  get  along  without 
"setting-up"  exercises  to  give  him  full  control 
of  his  body.  The  musician  patiently  endures 
"five  finger"  exercises.  The  sculptor,  the  artist, 
the  craftsman,  all  have  to  learn  through  long 
practice  how  to  use  the  tools  with  which  their 
work  is  done.     And  the  writer  is  no  exception; 


xiv  A   WORD  TO  THE   PUPIL 

there  is  no  royal  road  for  him,  no  easy,  always 
pleasant  way  of  gaining  mastery.  If  we  wish  to 
be  able  to  make  known  our  wants,  able  to  per- 
suade others  to  our  way  of  thinking;  if  we  wish 
to  share  with  others  what  we  have  seen  and  heard, 
what  we  have  thought  and  felt  and  imagined,  we 
must  first  learn  through  long,  patient  practice 
how  to  express  ourselves  readily  with  clearness 
and  force. 

This  is  a  practice-book.  It  contains,  first  and 
last,  many  hints  which  should  be  of  service  to 
the  untrained  writer  and  talker.  It  points  out 
little  errors  to  which  he  is  inclined,  and  suggests 
ways  of  avoiding  them.  It  contains  many 
exercises,  some  new,  some  centuries  old  no 
doubt,  but  all  designed  to  furnish  profitable  drill. 
It  is  based  on  the  belief  that  we  grow  in  usefulness 
and  happiness  only  by  sharing  what  we  have 
with  others,  that  much  which  is  best  worth 
sharing  can  ba  passed  about  only  through  the 
medium  of  composition,  and  that  to  succeed  in 
composition  as  in  any  other  line  of  activity  OKe 
must  be  willing  to  endure  hard  labor. 


PART    I 

EXERCISES  IN  SIMPLE  COAIPOSITION 


EI^GLISII    COAIPOSITION 


CHAPTER  I 
NARRATION 

Here  are  three  stories  which  you  may  have 
heard  many  times,  for  they  are  old  ones.  Read 
them  carefully  that  you  may  be  prepared  to  do 
the  tasks  assigned  on  a  later  page. 

An  Italian  nobleman  was  going  to  he  married,  and 
everybody  at  his  castle  was  busy  hcl])ing  to  get  ready 
the  marriage  feast.  There  was  one  great  drawback: 
there  had  been  such  dreadful  storms  at  sea  that  the 
fishermen  had  not  dared  to  venture  out,  and  consequently 
there  was  no  fish  to  be  had.  On  the  very  morning  of 
the  feast,  however,  a  poor  fisherman  appeared  before 
the  castle  gate  with  a  large  turbot  on  his  back.  The 
ser^^ants  were  so  delighted  that  they  took  him  at  once 
to  the  nobleman,  who,  in  the  presence  of  his  guests, 
bade  him  name  his  price  and  it  should  be  paid.  To  the 
surprise  of  all,  the  fisherman  said.  "My  price  is  one 
hundred  lashes  on  my  bare  back,  and  I  cannot  bate  a 
single  stroke!" 


4  ENGLISH  COMPOSITION 

"Nonsense,"  said  the  nobleman,  "you  are  joking. 
Come,  tell  us.     What  is  your  price?" 

The  fisherman  made  the  sarne  answer  as  before. 

"Well,"  said  the  nobleman,  "this  is  a  strange  jest; 
but  we  must  have  the  fish,  so  lay  the  lashes  on 
lightly." 

After  fifty  strokes  had  been  given, the  fisherman  cried, 
"Stop !  I  have  a  partner  in  this  business.  He  must  have 
his  share." 

"What!"  cried  the  nobleman,  "are  there  two  such 
madmen  in  the  world?  What  is  his  name?  We  will 
send  for  him  at  once." 

"You  have  not  far  to  go,"  answered  the  fisherman; 
"he  is  your  own  porter.  He  would  not  let  me  in  till  I 
promised  to  give  half  of  whatever  I  got  for  the  turbot. 
I  want  to  keep  my  promise." 

"Aha!"  said  the  nobleman,  "bring  him  here  at 
once." 

The  porter  was  brought.  He  received  his  full  share 
of  the  lashes,  and  they  were  not  laid  on  lightly.  He 
was  then  turned  away  from  the  castle.  The  fisherman, 
on  the  other  hand,  had  an  excellent  dinner  set  before 
him,  and  was  sent  away  with  a  handsome  present.* 

A  Spaniard  was  riding  across  a  wide  and  uninhabited 
tract  of  country  in  South  America  and  had  yet  a  long 
distance  to  travel,  when  suddenly  his  horse  fell  lame. 
He  was  in  dismay,  for  he  saw  that  it  would  never  be  able 
to  carry  him  home.     While  debating  what  to  do,  he  met 

*  This  story  and  the  two  following  are  taken,  by  permission, 
from  Fables,  Anecdotes,  and  Slorics,  published  by  the  Boston 
School  Supply  Co. 


NARKAIION  5 

an  Iiidiun  ricliii;;  on  a  line  fic.-h  lior.sc;  whereupon  lie 
ask(>d  the  Indian  to  exchange.  'Ihis  the  Indian  refused 
to  do;  so  the  Spaniard  by  force  compelled  him  to  dis- 
mount, and  taking  the  fresh  animal  rode  away,  leaving 
the  lame  horse  for  the  Indian,  wlio  was  soon  left  far 
behind. 

The  Indian  followed  the  tracks,  however,  \mtil  he 
reached  a  town  where  he  found  the  Spaniard  and  sum- 
moned him  to  appear  before  a  judge.  When  accused  of 
the  theft  the  S})aniard  swore  that  the  horse  was  his  own, 
and  that  he  had  reared  it  from  a  colt.  Then  the  Indian 
besought  the  judge  to  send  for  the  horse.  This  was  done; 
and  the  Indian,  throwing  his  cloak  over  the  horse's  head, 
said  to  the  judge,  "This  man  swears  he  has  had  the  horse 
since  it  was  a  colt.  Let  him  therefore  (ell  }()U  in  which 
of  its  eyes  it  is  blind." 

The  Spaniard,  not  daring  to  hesitate,  said  at  once, 
"The  right  eye." 

"Neither  the  right  eye  nor  the  left,"  said  the  Indian, 
taking  off  the  cloak.     "He  is  not  blind  at  all." 

This  was  a  proof  so  strong  that  the  judge  at  once 
ordered  that  the  horse  be  restored  to  its  owner,  and 
sentenced  the  Spaniard  to  pay  a  heavy  fine. 

A  vizier  who  had  displeased  the  Sultan  was  condemned 
to  be  imprisoned  for  life  in  a  high  tower  from  which 
escape  seemed  impossible.  One  night  his  wife  came  to  the 
foot  of  the  tower,  weeping  l)itterly  for  herhusl)and.  When 
he  heard  her,  and  knew  who  it  was,  he  called  out  softly 
to  her,  "  Do  not  weep,  for  I  may  yet  be  saved,  if  you  will 
do  as  I  bid  you.  flo  home,  and  bring  with  you  when 
5'ou  come  again  a  live  black  beetle  and  a  little  butter. 
Bring  also  a  ball  of  fine  silk,  a  ball  of  thread,  a  ball  of 


6  ENGLISH  COMPOSITION 

stout  twine,  and  a  coil  of  strong  rope."  His  wife  went, 
and  quickly  returned  with  all  these  things. 

"Now  touch  the  beetle's  head  with  butter,"  said  the 
vizier,  "and  tie  one  end  of  the  silk  thread  round  his  body 
and  put  him  on  the  tower  directly  beneath  my  window." 

All  this  was  quickly  done.  The  beetle,  thinking  from 
the  smell  of  the  butter  that  there  must  be  a  store  of  it 
above,  crawled  straight  up  till  he  came  to  where  the 
vizier  stood.  In  this  way  the  prisoner  got  hold  of  one 
end  of  the  silk.  But  this  had  been  tied  to  the  thread,  and 
the  thread  to  the  stout  twine,  and  the  twine  to  the  rope. 
When  the  vizier  had  pulled  up  the  rope,  he  fastened  one 
end  of  it  inside  the  tower,  then  slid  down  to  the  ground, 
and  under  cover  of  darkness  fled. 


EXERCISE  I 

Written 

Putting  the  hook  aside,  retell  the  story  you  like 
best,  giving  it  an  appropriate  title. 

Do  not  try  to  recall  the  language  of  the  book, 
yet  do  not  reject  any  phrase  which  you  may 
remember.  The  main  thing  is  to  tell  the  story 
in  your  own  way,  bringing  out  the  point  as  clearly 
and.  effectively  as  you  can.  The  first  draft  should 
be  made  with  moderate  care,  yet  with  little 
attention  to  such  matters  as  punctuation.  When 
revising  this  first  draft,  look  closely  at  each  sen- 
tence to  see  that  it  is  correct.     As  a  final  test 


.\.\i;i;.\rio\ 


before  making  a  neat  copy,  read  aloud  what  ycju 
have  written.  The  ear  is  a  good  critic,  often 
detecting  errors  which  the  eye  overlooks. 


EXERCISE  2 
Written 

Read  carejully  the  two  stories  that  follow;  then, 
putting  the  book  aside,  retell  one  of  thern. 

This  task  is  more  difficult  than  the  first,  partly 
because  each  poem  is  little  more  than  a  bundle 
of  hints  suggesting  a  story  rather  than  telling 
one,  and  partly  because  if  you  WTite  in  a  natural 
way  you  will  use  prose  rather  than  poetry  and 
must  therefore  select  your  own  words.  You 
cannot,  of  course,  hope  to  do  as  well  as  the  poet 
has  done;  yet  you  can  make  your  version  of  the 
story  effective,  perhaps  adding  details  supplied 
by  the  imagination.  Before  beginning,  turn  back 
to  the  stories  used  in  Exercise  1  and  study  them 
for  a  few  minutes.  Notice  that  each  has  three 
parts:  first  a  sentence  or  two  explaining  circum- 
stances, then  the  main  incident,  then  the  point — 
the  little  surprise  at  the  end.  It  is  this  surprise 
that  makes  a  story.  And  it  is  well,  you  will 
agree,  to  keep  the  reader  in  suspense  as  long 
as  possible.     Yet  unnecessary  details  should  be 


8  ENGLISH  COMPOSITION 

avoided,  that  the  story  may  unfold  rapidly  and 
not  grow  tiresome.  When  the  surprise  has  come, 
when  the  secret  has  been  revealed,  the  narrative 
should  be  brought  quickly  to  a  close. 

The  Sad  Little  Lass* 

"Why  sit  you  here,  my  lass?"  said  he. 
"I  came  to  see  the  king,"  said  she, — 
''To  see  the  king  come  riding  by, 

While  all  the  eager  people  cry 
'(iod  bless  the  king,  and  long  live  he!' 

And  therefore  sit  I  here,"  said  she. 

"Why  do  you  weep,  my  lass?"  said  he. 
"Because  that  I  am  sad,"  said  she. 
"For  when  the  king  came  riding  by, 

And  all  the  people  raised  a  cry, 

I  was  so  small  I  could  not  see; 

And  therefore  do  I  weep,"  said  she. 

"Then  weep  no  more,  my  lass!"  said  he. 
"And  pray,  good  sir,  why  not?"  said  she. 
"Lift  up  your  eyes  of  bonnie  blue. 

And  look  and  look  me  through  and  through; 

Nor  say  the  king  you  could  not  see. 

I  am  the  king,  my  lass!"  said  he. 

Margaret  Johnson 

*  Reprinted  from  St.  Nicholas  Magazine  by  permission  of  the 
author  and  the  Century  Publishing  Co. 


XARHA'no.V 

Incident  ok  Tiih:   I'kiach  ('wii- 

You  know,  we  French  stornu'd  Rutisbon. 

A  mile  or  so  away, 
On  a  little  mound,  Napoleon 

Stood  on  our  storming-day ; 
With  neck  out-thrust,  you  fancy  how, 

Legs  wide,  arms  locked  behind, 
As  if  to  balance  the  prone  brow 

Oppressive  with  its  mind. 

Just  as  perchance  ho  mused  "  My  plans 

That  soar,  to  earth  may  fall, 
Let  once  my  army-leador  Lannos 

Waver  at  yonder  wall" — 
Out  'twixt  the  battery-smokes  there  flew 

A  rider,  bound  on  bound. 
Full-galloping;  nor  bridle  drew 

Until  he  reached  the  mound. 

Then  off  there  flung  in  smiling  joy, 

And  held  himself  erect 
By  just  his  horse's  mane,  a  boy; 

You  hardly  could  suspect — 
(So  tight  he  kept  his  lips  compressed, 

Scarce  any  blood  came  through) 
You  looked  twice  ere  you  saw  his  breast 

Was  all  but  shot  in  two. 

"Well,"  cried  he,  "Emperor,  by  God's  grace 

We've  got  you  Ratisbon! 
The  Marshal's  in  the  market-place. 

And  vou'U  be  there  anon 


10  ENGLISH  COMPOSITION 

To  see  your  flag-bird  flap  his  vans 

Where  I,  to  heart's  desire, 
Perched  him!"     The  chief's  eye  flashed;  his  plans 

Soared  up  again  like  fire. 

The  chief's  eye  flashed;  but  presently 

Softened  itself,  as  sheathes 
A  film  the  mother-eagle's  eye 

When  her  bruised  eaglet  breathes. 
"You're  wounded!"     "Nay,"  the  soldier's  pride 

Touched  to  the  quick,  he  said; 
"I'm  killed,  Sire!"     And  his  chief  beside 

Smiling  the  boy  fell  dead. 

Robert  Browning 


EXERCISE  3 
Written 

Retell  in  the  first  person  any  one  of  the  stories  in 
the  first  two  exercises^  imagining  that  you  are  the 
porter,  the  wicked  Spaniard,  Napoleon,  the  king 
who  comforted  the  little  lass,  or  the  beetle. 

What  advantage  is  there  in  telling  a  story  in 
the  first  person?  What  advantage  is  there  in 
using  the  third  person?  Conversation  gives  life 
to  a  narrative.  If  you  are  uncertain  how  con- 
versation should  be  arranged,  and  how  capitals 
and  quotation-marks  are  used,  turn  to  page  179. 


NARliAlloX  11 


EXERCISE  4 
Oral 

Come  to  class  prepared  to  tell  the  best  story  you 
can  find.  Consider  this  exercise  a  contest,  the  class 
deciding  by  vote  at  the  end  of  the  hour  which  story- 
teller has  done  best. 

Good  anecdotes  appear  in  every  issue  of  the 
Youth's  Companion,  and  occasionally  one  may 
be  found  in  the  newspaper.  Better  than  these 
are  the  favorites  which  nearly  everybody  has  in 
mind — stories  which  father  or  mother  tells  over 
and  over  again.  But  never  mind  the  source;  the 
main  thing  is  to  get  a  good  story  and  tell  it  in  an 
entertaining  way.  Be  careful  to  vary  the  sen- 
tence form  when  reporting  conversation.  In- 
stead of  beginning  with  He  said,  divide  the 
quoted  sentence  and  slip  he  said  in  between  the 
two  parts;  or  invert  the  words,  putting  said  he  at 
the  close  of  the  sentence.  Notice,  when  reading 
books,  how  skillfully  the  trained  story-teller  uses 
these  two  words  and  similar  expressions. 


12  ENGLISH  COMPOSITION 


EXERCISE  5 

Written 

Here  is  a  picture  which  doubtless  you  have 
seen  before.  Perhaps  the  story  it  tells  is  famil- 
iar to  you,  or  to  your  instructor,  who  will  supply 
you  with  a  hint  or  two.  If  not,  use  your  imagi- 
nation. 

Invent  a  story  to  match  the  ^picture,  following  in 
a  general  way  the  flan  used  by  Browning  in  his 
Incident  of  tlie  French  Camp.  Imagine  that  you 
are  young  Handel,  or  some  member  of  the  group 
standing  in  the  doorway. 


IIIAI^ER  II 

j!iARRXTlO^— Continued 

The  tasks  in  Chapter  I  provide  practice  in 
reproduction;  that  is,  practice  in  retelling  with 
only  slight  changes  what  one  has  read  or  has 
heard.  The  incidents  are  furnished  and,  ex- 
cept in  the  last  exercise,  the  language  is  sug- 
gested. The  exercises  in  Chapter  II  are  a  little 
more  difficult,  perhaps,  in  that  you  are  asked  to 
find  incidents  for  yourselves,  and  must  use 
language  that  is  all  your  own. 

EXERCISE  6 

Written 

Write  a  clear,  connected  account  of  something 
that  has  actually  happened  to  you,  smnething  which 
can  properly  he  called,  in  the  title  of  the  composition, 
A  first  experience. 

Suggestions:  1.  My  first  party.  2.  My  first  serious 
accident.  3.  ]\Iy  first  attempt  to  swim.  4.  The  first 
time  I  ever  ran  away.     5.  ^ly  first  experience  with  a 

13 


14  ENGLISH  COMPOSITION 

dentist.  6.  My  first  severe  punishment.  7.  My  first 
experience  as  a  cook.  8.  My  first  day  in  school.  9.  My 
first  shopping  expedition.     10.  ]\Iy  first  football  game. 


EXERCISE  7 
Oral 

Criticise  the  school  co7nposition  given  helow, 
fointing  out  the  good  as  well  as  the  had. 

For  example,  has  the  writer  chosen  an  in- 
teresting incident,  one  that  is  worth  narrating? 
Do  you  like  the  plan  of  the  composition,  the 
incident  proper  coming  between  two  short  para- 
graphs one  leading  up  to  the  story  and  one  away 
from  it?  Is  it  correct  to  write  he  with  two  other 
hoys  were  coming  home?  What  other  expressions 
do  you  find  which  you  think  should  be  changed? 

Seeing  the  Dog  Swim 

My  sisters  and  I  are  fond  of  having  father  tell  us  stories 
on  Sunday  evenings.  These  stories  ahva3^s  begin  this 
way:  "When  I  was  a  boy,  out  in  Ohio,"  etc.,  etc.  Not 
long  ago  he  told  us  this  one: 

Father  was  about  twelve  years  old.  One  spring  after- 
noon, when  it  was  just  beginning  to  get  a  little  warmer,  he 
with  two  other  boys  were  coming  home  in  a  light  wagon. 
They  had  been  staying  at  the  farm  of  the  boys'  father, 
a  Mr.  Hall,  about  tweh-e  miles  from  Columbus.  AYhen 
half-way  home  they  came  to  what  is  called  Alum  Creek. 


NARRATION  15 

It  was  about  one  huiRlivd  feet  wide,  l)Ut  (luile  shallow — 
perhaps  four  feet  deep.  1  here  was  a  bridf!;e  across  but, 
boylike,  fatlier  and  liis  friends  j)referred  fording  it. 

When  near  the  middle  of  the  stream,  one  of  the  boys 
suddenly  said,  "Let's  pitch  the  dog  in  and  see  him 
swim!"  So  father  went  to  the  back  of  the  wagon,  and 
taking  the  dog  in  his  arms  threw  him  in  with  a  great 
splash.  The  liorse,  which  had  been  drinking,  was 
awfully  frightened,  and  pranced,  pranced,  pranced,  over 
to  the  other  side  and  up  onto  the  road.  At  the  first  great 
leap  the  wagon  was  given  a  sudden  jerk,  and  this  pitched 
father  head  first  into  the  water.  At  the  same  jerk  the 
wagon  seat  tipped  over  backwards,  and  the  two  Halls 
lay  rolling  on  their  backs,  choking  with  laughter.  Father 
picked  him.self  up  ciuickly,  for  the  water  was  yet  very 
cold.  He  chased  after  the  boys,  but  didn't  catch  up  to 
them  till  on  the  road.  He,  and  the  dog  too,  were  soak- 
ing wet  from  head  to  foot,  and  they  had  to  drive  six 
miles  more,  facing  the  wind.  To  use  his  own  words,  he 
"was  nearly  perished." 

For  a  long  time  after,  my  grandfather  had  a  way  of 
bringing  up  the  sad  incident  before  any  guests  who  might 
be  at  the  table,  when  stories  were  being  told.  "George," 
he  would  ask  of  father,  "what  was  that  story  about  the 
dog?"  But  father  would  only  hang  his  head,  so  grand- 
father would  feel  obliged  to  tell  the  story. 


16  ENGLISH  COMPOSITION 


EXERCISE  8 

Written 

Write  a  short  composition  similar  to  the  one 
called  for  in  Exercise  6,  this  time  giving  not  your 
own  experience  but  the  experience  of  some  one  else. 
Invent  an  appropriate  title. 

Perhaps  reading  the  anecdote  given  in  Exer- 
cise 7  has  suggested  some  similar  one  which  you 
would  like  to  give.  Nearly  every  family  has  a 
score  or  more  of  such  stories  which  father,  mother, 
or  grandparents  tell  concerning  what  happened 
to  them  long  ago  when  they  were  young.  Tell 
your  favorite  of  all  these  "fireside  reminis- 
cences." 

When  reading  aloud  what  you  have  written, 
are  you  sometimes  surprised  to  find  that  you  have 
used  some  word  over  and  over  again  till  the  repe- 
tition is  unpleasant  to  the  ear?  For  example, 
the  first  story  under  Exercise  1  contains  this 
sentence:  There  was  one  great  drawback:  there 
had  been  such  dreadful  storms  at  sea  that  the 
fishermen  had  not  dared  to  venture  out,  and 
consequently  there  was  no  fish  to  be  had.  The 
repetition  is  unpleasant,  and  would  have  been  still 
more  so  had  therefore  been  used  in  place  of  con- 
sequently.    The   word   horse   is   used   somewhat 


NAIIUAI  1().\  17 

freely  in  the  second  story,  though  the  narrator 
has  tried  to  avoid  the  word  by  employing 
synonyms.  Such  repetition,  often  difficult  to 
avoid,  is  not  a  serious  matter,  yet  it  is  one  that 
the  careful  writer  tries  to  remedy  before  making 
a  final  copy  of  his  work.  Read  aloud  some  of 
the  compositions  you  have  written,  to  see  if  you 
are  repeating  words  unpleasantly.  See  Exercise 
80  on  page  134. 

EXERCISE  9 
Written 

Write  a  composition,  the  length  to  be  determined 
by  your  instructor,  to  which  can  appropriately  be 
given  the  title  A  day  of  my  life. 

There  are  days  and  days,  some  interesting, 
others  comparatively  humdrum.  You  may  select 
either  kind,  though  presumably  you  will  prefer 
the  former.  An  absolutely  faithful  record  of 
everything  done  from  morning  till  night  would 
contain  much  that  is  of  little  interest.  In  most 
narratives  the  writer  has  to  select  his  material, 
picking  out  the  important  things  and  passing  by 
what  every  one  takes  for  granted.  Do  not  say 
that  on  arising  in  the  morning  you  washed  your 
face  and  hands  and  dried  them  with  a  towel, 
for  of  course  you  do  that  every  morning.     It  is 


18  ENGLISH  COMPOSITION 

not  necessary  to  say  that  when  the  train  reached 
your  station  you  got  out;  for  of  course  you 
would  get  out,  unless  for  some  reason  you  forgot 
to  do  so.     Items  of  that  sort  are  unnecessary. 

Which  is  the  better  expression — two  hoys  and 
myself,  or  three  of  us  hoys?  Is  it  polite  to  say 
/  and  my  friend  ? 

EXERCISE  10 
"Written 

Write  a  composition,  the  length  to  he  determined 
hy  your  instructor,  to  which  can  he  properly  ap- 
plied one  of  the  following  titles:  A  narrow  escape, 
A  sad  accident,  Almost  a  catastrophe.  All  due 
to  carelessness. 

Let  this  be  a  truthful  account  of  something 
you  have  actually  witnessed.  In  some  respects 
this  is  the  most  difficult  task  you  have  been 
given.  Try  to  do  it  well.  Perhaps  it  will  be 
wise  to  keep  in  mind,  while  writing,  an  outline 
like  the  following: 
I  Time  and  place 

II  Circumstances  leading  to  the  exciting  mo- 
ment 

III  The  exciting  moment 

IV 

A  single  sentence  may  be  enough  for  the  first 


XARR.\'H<».\  19 

topic,  but  the  second  may  call  for  ten.  Be  sure 
that  every  circumstance  is  made  clear,  otherwise 
the  reader  will  become  confused,  not  seeing 
things  distinctly  but  guessing  at  them  and  some- 
times guessing  wrong.  Failure  to  state  some  one 
little  particular  may  spoil  the  entire  narrative. 
The  third  topic,  however,  will  be  most  trying  of 
all;  for  at  exciting  moments  a  great  deal  happens, 
the  senses  receive  many  impressions,  and  the 
emotions  are  ever  changing.  Follow  the  chrono- 
k:>gical  order  if  possible;  that  is,  narrate  first 
what  happened  first,  second  what  happened  next, 
and  so  on.  Can  you  guess  what  the  fourth  topic 
should  be?  Perhaps  as  you  will  narrate  the 
incident  no  fourth  topic  \\i\\  be  necessary. 


EXERCISE  II 
Oral 

Criticise  the  following  hastily  written  school 
theme,  pointing  out  the  good  as  well  as  the  bad. 

Is  the  composition  well  planned?  Do  you 
miss  any  details  necessary  for  a  clear  under- 
standing of  things?  By  what  devices  does  the 
writer  convey  the  idea  of  excitement,  toward  the 
end  of  the  narrative?  If  asked  to  rewrite  the 
composition,  what  changes  should  you  make? 


20  ENGLISH  COMPOSITION 

An  Exciting  Contest 

The  track  was  fine  and  smooth,  without  much  dust, 
and  there  could  not  have  been  a  better  day  for  a  race. 
The  grandstand  was  crowded.  AH  along  the  fence 
lining  the  track  were  hundreds  of  automobiles.  Behind 
the  grandstand  there  was  a  continuous  roar  from  the 
big  racers. 

A  race  had  just  been  finished  and  there  was  a  moment's 
pause.  Then  out  on  the  track  came  a  large  Peerless 
followed  by  a  small  White  steam.  The  Peerless  was  a 
sixty -horse-power  car  driven  by  the  well-known  Barney 
Oldfield,  while  the  White  was  a  sm.aller  car  of  about 
fifteen  horse-power  driven  by  Webb  Jay,  also  well  known 
in  racing  circles.  Most  of  the  crowd  were  inclined  to 
laugh  at  the  White,  but  men  who  knew  more  were  of  a 
different  opinion. 

The  cars  were  on  the  line,  the  Peerless  making  a  noise 
like  ten  Catling  guns,  the  White  making  the  peculiar 
hiss  due  to  the  fierceness  of  the  fire  under  her  boiler. 
The  signal  was  given  and  the  cars  were  off,  each  striving 
for  the  inside  at  the  first  turn.  Great  clouds  of  dust 
rolled  up,  hiding  them  from  view  as  they  passed  the 
first  turn,  the  Peerless  leading.  It  seemed  but  a  second 
or  two  before  they  were  round  again.  As  they  turned 
into  the  home  stretch  all  you  could  hear  was  the  peculiar 
hum  of  the  wheels.  This,  as  they  drew  near,  grew 
louder,  and  as  they  got  opposite  there  was  a  very  great 
noise,  a  flying  of  dust — and  they  are  taking  the  next  turn. 
Within  a  minute  they  were  round  again,  plowing  through 
the  dust  which  had  not  had  time  to  settle. 

Four  times  they  went  round  the  course  at  that  fearful 
pace.     As  they  started  the  fifth,  the  people  went  wild 


NARRATION  21 

with  excitement,  for  the  little  White  was  leading. 
Around  the  turn  they  po,  fjroat  clouds  of  dust  rolling  up. 
Down  the  bac  k  stretch  they  fly,  around  the  curve  at  the 
far  end  of  the  course,  and  turn  into  the  home  stretch. 
The  excitement  is  intense.  On  come  the  cars  like 
battleships  firing  all  their  guns.  The  White  is  gaining, 
gaining,  gaining  at  a  good  rate.  Nearer  and  nearer  they 
come.  The  White  draws  further  away  from  the  Peer- 
less. The  dust  is  so  thick  that  the  cars  can  hardly  be 
seen.  There  is  a  final  rush  and  a  roar,  and  one  of  the 
most  exciting  races  ever  run  on  a  circular  track  is  fin- 
ished.    The  jjlucky  little  Wiiite  is  winner. 


EXERCISE   12 
Written 

Write  a  short  composition  to  which  you  can  give 
the  title  An  exciting  moment. 

This  may  be  a  bit  of  adventure,  a  critical  point 
in  some  game  or  contest,  or  an  experience  similar 
to  the  one  called  for  in  Exercise  10.  Do  not 
waste  time  by  giving  too  many  preliminaries,  but 
come  quickly  to  the  exciting  moment.  Then 
try  the  effect  of  a  number  of  short  sentences; 
often  they  are  better  than  long  ones,  when  the 
writer  is  trying  to  convey  the  idea  that  much  is 
happening  all  at  once.  Try  using  the  present 
tense,  but  be  careful  not  to  mix  tenses.  See 
Exercise  82  on  page  139. 


CHAPTER    III 
EXPOSITION 

Chapters  I  and  II  are  made  up  of  exercises 
in  narration,  a  form  of  composition  which  gives 
an  orderly  report  of  action.  A  story  is  a  narra- 
tion. An  orderly  account  of  what  you  did  last 
Saturday  would  be  a  narration.  Any  composi- 
tion, long  or  short,  which  gives  in  orderly  fashion 
the  particulars  of  an  event  or  a  series  of  events 
is  a  narration.  It  is  the  commonest,  though  not 
necessarily  the  simplest,  kind  of  composition  used 
in  talking  and  writing. 

One  secret  of  a  good  narrative  lies  in  the  word 
orderly.  Unless  particulars  are  given  in  proper 
order,  the  account  becomes  "all  mixed  up." 
Usually  it  is  best  to  follow  the  chronological  order, 
telling  first  what  happened  first,  second  what 
happened  next,  and  so  on  to  the  end.  But  even 
though  orderly  a  narrative  is  sometimes  faulty 
because  incomplete.  How  often  when  telling  a 
story,  especially  if  the  listener  be  a  child,  is  one 
interrupted  by  questions.     The  questions  come 

22 


i:xr()si  riox  23 

because  particulars  have  been  overlooked  which 
are  quite  necessary  for  a  clear  comprehension. 

Oftentimes  these  particulars  have  to  do  with 
what  is  called  Exposition.  A  perfect  definition  of 
this  word  would  lead  us  into  deep  waters.  For 
the  present  it  is  enough  to  say  that  exposition- 
means  almost  the  same  as  explanation.  We  use 
exposition  when  we  tell  how  we  did  a  certain 
example  in  arithmetic.  We  use  it  in  telling  how 
ice  cream  is  made,  why  some  birds  go  south  for 
the  winter,  what  makes  the  locomotive  puff,  or 
why  we  were  late  for  school.  This  paragraph  is 
an  example  of  exposition,  in  that  it  tries  to  ex- 
plain the  meaning  of  a  word. 

Order  and  completeness  are  quite  as  essential 
in  exposition  as  in  narration.  Not  always  is  it 
possible  to  follow  a  chronological  order,  but  a 
plan  of  some  sort  is  desirable  lest  the  explanation 
become  confusing.  And  it  is  necessary  to  w^atch 
lest  some  important  detail  be  overlooked,  es- 
pecially when  one  is  explaining  something  very 
familiar  to  himself  but  quite  unfamiliar  to  the  one 
he  is  addressing.  Your  aunt,  though  learned  in 
many  ways,  probably  knows  but  little  about 
boys'  games.  If  explaining  to  her  how  squash 
is  played,  it  would  be  necessary  to  give  many 
particulars  which  at  first  might  seem  to  you 
quite  unnecessary. 


24  ENGLISH  COMPOSITION 

The  tasks  which  follow  may  seem  simpler  than 
those  in  the  preceding  chapters,  but  in  reality 
they  are  more  difficult.  If  it  be  true  that  there 
are  fifty  who  "take  in"  all  that  they  witness  where 
there  are  but  twenty-five  who  are  able  to  record 
what  they  have  seen  in  an  orderly  narrative,  it 
is  probably  true  that  there  are  twenty-five  who 
"see  through"  things  where  there  is  one  who  has 
the  ability  to  explain  to  others  what  he  has  seen 
through.     Clear  minds  are  rare. 

EXERCISE  13 
Oral  and  Written 

Write  answers  to  as  many  of  the  following 
questions  as  you  can  in  the  time  allotted,  and  come 
to  class  pre'pared  to  answer  orally  several  more. 

Do  not  attempt  too  much.  You  will  do  well 
if  you  succeed  in  giving  clear,  complete  answers 
to  three  or  four  questions.  Write  as  if  to  one 
who  does  not  grasp  things  easily  and  must  have 
everything  explained  very  clearly  and  in  simple 
language.  When  convenient,  let  the  first  sen- 
tence of  an  answer  include  the  wording  of  the 
question.  If  several  reasons  are  advanced,  per- 
haps it  is  well  to  begin  with  the  simplest,  the 
most  obvious. 

Probably  in  doing  this  task  and  others  soon 


i;xi'()srn().\  25 

to  follow  you  will  use  somewhat  frequently  sen- 
tences containing  enumerations.  On  page  177 
are  examples  showing  how  such  sentences  should 
be  punctuated. 

1 .  Why  do  birds  hav^c  bills  instead  of  teeth?  2.  What 
advantage  is  there  in  using  a  "bob"  wlicn  fishing?  3. 
Why  is  the  baseball  made  sphorit-al,  the  football 
spheroidal?  4.  What  things  affeot  the  climate  of  a 
place?  5.  Why  are  story  books  illustrated?  6.  Why 
does  not  the  pond  begin  to  freeze  at  the  bottom?  7.  Of 
what  use  are  city  parks?  8.  W^hat  causes  tides?  9. 
Why  is  football  condemned  by  so  many?  10.  Why  is 
a  flash  of  lightning  followed  by  thunder?  1  1 .  What 
causes  day  and  night?  12.  \Mi>-  do  ^o  many  rivers 
flow  by  large  cities?  13.  Why  are  so  many  pupils  late  to 
school?  14.  Why  are  the  ball  bat  and  the  tennis  racquet 
so  different  in  shape?  15.  How  do  boys'  l)Ooks  differ 
from  the  ])Ooks  girls  enjoy  reading?  16.  Why  do  so 
manv  foreigners  come  to  our  country? 


EXERCISE   14 
Oral  or  Written 

Ability  to  make  things  clear  often  receives  a 
severe  test  when  one  is  unexpectedly  asked  to 
direct  a  stranger  on  his  way.  Possibly  all  of  us 
know  how  unpleasant  the  feeling  is  w^hich  comes 
when,  a  few  minutes  too  late,  it  flashes  across  us 
that  we  have  carelessly  misdirected  some  one. 


26  ENGLISH  COMPOSITION 

No  doubt  all  of  us  have  ourselves  been  mis- 
directed and  know  what  it  means  to  tramp  a 
weary  mile  or  two  simply  because  some  one  has 
been  careless.  What  respect  we  have  for  the 
clear-headed  farmer  who  obligingly  stops  his 
horses  and  gives  directions  as  unmistakable  as 
his  furrow  is  straight,  not  forgetting  distances, 
points  of  compass,the  noticeable  objects  along  the 
way.  Possibly  he  traces  a  rude  map  of  the 
region,  marking  out  in  the  sand  with  the  butt  of 
his  whip  each  road  and  crossroad.  At  any  rate, 
he  makes  the  way  clear  before  he  returns  to  his 
plowing. 

Give  brief  yet  clear  directions  for  finding  four 
or  five  ^places  suggested,  by  the  list  below.  Write 
as  if  to  one  unacquainted  with  your  town. 

1.  A  certain  pool  in  a  trout  stream.  2.  A  certain 
counter  in  a  department  store.  3.  The  nearest  fire-alarm 
box.  4.  A  hollow  tree  in  which  you  have  hidden  your 
rifle.  5.  A  place  where  arbutus,  or  some  other  favorite 
wild  flower,  grows.  G.  Your  doctor's  oflfice.  7.  The 
railroad  station.     8.  A  good  restaurant. 


EXl'USniON  27 


EXERCISE   15 
Written 

Give  careful  directions  for  making  something  in 
the  following  list.  Select,  if  possible,  something 
you  yourself  have  made. 

1.  A  work-bench.  2.  A  fancy  lamp-shade.  3.  A 
cornstalk  fuldlo.  4.  Pop-corn  balls.  0.  An  ice-boat. 
6.  A  log  cabin.  7.  Coffee.  8.  A  camp  stove.  9.  A 
window-garden.  10.  A  magic  lantern.  11.  A  cata- 
maran. 12.  Mai)le  sugar.  13.  A  water-wheel.  14. 
Butter.  15.  A  willow  whistle.  16.  A  double  ripper. 
17.  A  bead  chain.  18.  A  raft.  19.  Apple  dumplings. 
20.  An  aquarium.  21.  Ice  cream.  22.  A  water  tele- 
scope. 23.  A  toboggan-slide.  24.  A  cosey  corner. 
25.  A  balloon.  26.  A  tree-top  house.  27.  A  pretty 
apron.     28.  A  canoe.     29.  A  beehive. 

Try  to  imagine  what  mistakes  a  novice  might 
make  in  following  your  directions,  and  warn 
against  them.  Tell  what  should  not  be  done, 
as  well  as  what  should  be  done.  Even  thouo;h 
you  have  little  skill  in  drawing,  try  to  make  clear 
your  plans  by  means  of  rough  illustrations.  The 
eye  may  see  at  a  glance  something  which  would 
be  difficult  to  indicate  even  by  writing  a  long 
paragraph. 


28  ENGLISH  COMPOSITION 


EXERCISE   i6 

Written 

Explain  how  some  simple  instrument,  contri- 
vance, or  machine  does  its  work.  Select,  if  you 
can,  from  the  following  list. 

1.  A  grindstone.  2.  A  nutmeg-grater.  3.  A  tlier- 
mostat.  4.  A  churn.  5.  A  compass.  6.  A  mouse-trap. 
7.  An  ash-sifter.  8.  A  fountain-pen.  9.  A  spirit-level. 
10.  A  horse-rake.  11.  An  egg-beater.  12.  A  ther- 
mometer. 13.  A  sun-dial.  14.  A  wrench.  15.  A 
student-lamp.     16.  A  carpet-sweeper. 


EXERCISE  17 
Oral  or  Written 

Read  carefully  the  following  composition,  then 
prepare  a  similar  account  telling  how  some  com- 
mon thing  is  made. 

This  task  will  take  you  to  some  mill  or  factory 
and  will  call  for  accurate  observation.  Before 
telling  how  a  machine  does  its  work,  it  is  often 
necessary  to  describe  it — tell  what  it  looks  like. 
In  other  words,  it  is  often  necessary  to  compare 
that  which  is  unfamiliar  with  that  which  is  well 
known,  pointing  out  similarities  and  differences. 
Every  one  has  seen  a  pair  of  shears;  how  proper 
it  was  for  Mr.  Frentz  to  say  that  the  device  he 


EXPOSniO.V  20 

was  describing  was  little  more  than  a  strong  pair 
of  shears.  How  large  a  machine?  As  large  as  a 
sewing-machine. 

Nails  * 

The  making  of  nails  is  one  of  the  oldest  American,  as 
it  is  one  of  the  oldest  English,  industries;  but  in  Great 
Britain  the  greater  part  of  the  product  has  been  hand 
work,  in  America  machine  work. 

Of  modern  nails,  the  wire,  or  French,  nails,  and  the 
common  cut  nails  are  made  in  quantities  which  far  ex- 
ceed all  other  kinds.  The  wire  nails  have  increased 
enormously  in  general  use  during  tlie  last  fifteen  or 
twenty  years,  but  there  are  still  many  purposes  for 
which  cut  nails  are  preferred. 

The  process  of  making  wire  nails  is  exceedingly  simple 
and  almost  wholly  automatic.  A  large  reel  or  spool  of 
wire  of  a  size  equal  to  that  of  the  shank  of  the  nail  to 
be  made  feeds  forward  at  each  revolution  of  the  machine 
a  piece  of  wire  equal  to  the  length  of  the  nail  and  a 
fraction  of  an  inch  more. 

This  is  seized  firmly  by  clamps,  which  straighten  while 
they  hold  it,  and  at  the  same  time  a  pair  of  jaws  so  cut 
the  wire  as  to  leave  a  sharp  point  to  the  nail. 

Before  the  clamps  let  go  their  hold,  a  hammer,  the 
face  of  which  is  a  die,  strikes  the  other  end  of  the  wire  a 
sharp  blow,  which  forms  the  head. 

The  clamps  have  corrugated  surfaces,  not  merely  to 
hold  the  nail  more  securely,  but  to  impress  upon  it  a 

*  Reprinted  from  the  Youth's  CompanioH  by  permission  of 
the  Perry  Mason  Co. 


30  ENGLISH  COMPOSITION 

series  of  ridges  and  depressions,  which  make  it  harder  to 
draw  out  when  once  driven  home. 

The  making  of  cut  nails  is  less  automatic  and  much 
harder.  Any  one  who  has  seen  a  nail-maker  at  work  will 
understand  the  aptness  of  the  old  expression,  to  "work 
like  a  nailer."  The  iron  for  cut  nails  is  first  rolled  into 
sheets,  the  thickness  of  which  is  equal  to  the  thickness  of 
the  nail.  It  is  then  cut  into  plates  as  wide  as  the  nail 
is  long,  and  of  such  length  as  a  man  can  handle  con- 
veniently— say  from  fifteen  to  twenty  inches. 

The  nail-cutting  machine  is  a  heavy,  compact  piece 
of  mechanism  not  much  larger  than  a  sewing-machine, 
before  which  the  nail-maker  sits  on  a  stool.  It  consists 
of  but  little  more  than  a  pair  of  shears  strong  enough  to 
cut  iron  three-eighths  of  an  inch  thick,  and  a  heading 
hammer. 

Any  one  who  will  examine  a  cut  nail  will  find  that  the 
shank  tapers,  not  on  all  four  sides  from  the  head,  as  he 
may  have  supposed,  but  on  two  sides  only.  The  other 
two  sides  are  parallel.  It  is  the  neglect  to  notice  this  fact 
which  leads  so  many  persons  to  start  a  nail  into  wood 
in  a  way  which  splits  it. 

From  a  small  furnace  near  the  machine  the  nail-maker 
draws  a  plate  which  has  come  to  a  dull  red  heat.  Hold- 
ing this  by  means  of  pincers,  he  feeds  the  edge  farthest 
from  him  to  the  jaws  of  the  machine.  As  they  descend 
they  shear  a  tapering  strip  from  the  edge.  This  is  seized 
by  clamps,  which  hold  it  just  long  enough  for  the  heading 
hammer  to  strike  the  blow  which  forms  the  head,  and 
then  drop  it. 

Now  if  the  nailer  were  simply  to  push  the  plate  for- 
ward again,  the  tapering  character  of  the  strip  which  is 
sliced  off  would  destroy  the  rectangular  shape  of  the 


EXPOSITION  31 

plate,  and  the  nails  would  ncitiier  be  of  a  length  nor  have 
square  heads  and  points.  To  obviate  this  difliculty, 
the  plate  must  be  turned  over  between  every  two  nails 
that  are  cut,  so  that  the  head  of  the  nail  will  come 
alternately  from  one  side  of  the  i)late  and  from  the  other. 

This — and  it  is  the  principal  part  of  the  nailer's  work — 
is  done  with  a  simple  turn  of  the  wrist,  and  the  plate  is 
fed  forward  as  before.  As  the  machines  run  at  consider- 
able speed,  and  the  "flop"  must  be  accurately  timed  in 
order  that  the  end  of  the  plate  may  meet  the  shears  at 
the  right  moment  and  in  the  right  place,  the  difficulty 
and  the  tiresome  nature  of  a  nail-maker's  work  may  be 
imagined.  Some  idea  of  it  may  be  had  by  holding  the 
thick  end  of  a  shingle  in  a  pair  of  tongs  and  attempting 
so  to  turn  it  witli  a  single  motion  of  the  wrist  that  alter- 
nate sides  will  lie  uppermost  on  a  table. 

A  good  nail-maker  will  make  from  two  to  four  flops — 
that  is,  will  cut  from  two  to  four  nails — a  second,  the 
smaller  nails,  of  course,  being  made  more  rapidly  than 
the  larger  ones.  As  the  plate  grows  cool  it  is  returned  to 
the  oven  to  be  reheated,  and  another  plate  takes  its 
place. 

A  nail-maker's  hands  and  arms  always  show  the 
character  of  his  work  by  the  tremendous  development 
of  certain  special  muscles  and  by  callouses,  which  be- 
come as  hard  as  horn. 

The  common  names  of  nails — sixpenny,  eightpenny, 
tenpenny,  and  so  forth — are  believed  to  be  corruptions 
of  six-pound,  eight-pound  and  ten-pound — names  given 
in  England  to  denote  the  weight  of  one  thousand  of  a 
given  kind  of  nails.  Sixpenny  and  eightpenny  was  an 
easy  step  from  "sLx-pun'  "  and  "eight-pun'." 

Edward  Williston  Frentz 


ENGLISH  COMPOSITION 


EXERCISE  i8 
Oral 

Read  the  following  with  great  care,  that  you  may 
he  able  to  answer  questions  concerning  it  later  on. 

How  TO  Pitch  a  Tent* 

When  five  or  six  o'clock  draws  near,  begir^  to  look 
about  you  for  a  good  level  dry  place,  elevated  some  few 
feet  above  the  surroundings.  Drop  your  pack  or  beach 
your  canoe.  Examine  the  location  carefullv.  You 
will  want  two  trees  about  ten  feet  apart  from  which  to 
suspend  your  tent,  and  a  bit  of  flat  ground  underneath 
them.  Of  course  the  flat  ground  need  not  be  particularly 
unencumbered  by  brush  or  saplings,  so  the  combination 
ought  not  to  be  hard  to  discover.  Now  return  to  your 
canoe.     Do  not  unpack  the  tent. 

With  the  little  axe  clear  the  ground  thoroughly.  By 
bending  a  sapling  over  strongly  with  the  left  hand, 
clipping  sharply  at  the  strained  fibers,  and  then  bending 
it  as  strongly  the  other  way  to  repeat  the  axe  stroke  on 
the  other  side,  you  will  find  that  treelets  of  even  two  or 
three  inches  diameter  can  be  felled  by  two  blows.  In 
a  very  few  moments  you  will  have  accomplished  a  hole 
in  the  forest,  and  your  two  supporting  trees  will  stand 
sentinel  at  either  end  of  a  most  respectable-looking 
clearing.     Do  not  unpack  the  tent. 

*  Reprinted  from  The  Forest  by  permission  of  Messrs.  McClure, 
Phillips,  &  Company. 


lixrosiriox  33 

Now,  althougli  the  ground  seems  free  of  all  Ijut  un- 
important growths,  go  over  it  thoroughly  for  little  shrubs 
and  leaves.  They  look  soft  and  yielding,  but  are  often 
possessed  of  unexpectedly  abrasive  roots.  Besides,  they 
mask  the  face  of  the  ground.  When  you  have  finished 
pulling  them  up  by  the  roots,  you  will  find  that  your 
supposedly  level  plot  is  knobby  with  hummocks.  Stand 
directly  over  each  little  mound;  swing  the  back  of  your 
axe  vigorously  against  it,  adze-wise,  between  your  legs. 
Nine  times  out  of  ten  it  will  crumble,  and  the  tenth 
time  means  merely  a  root  to  cut  or  a  stone  to  pry  out. 
At  length  you  are  possessed  of  a  plot  of  clean,  fresh 
earth,  level  and  soft,  free  from  projections.  But  do  not 
unpack  your  tent. 

Lay  a  young  birch  or  maple  an  inch  or  so  in  diameter 
across  a  log.  Two  clips  will  produce  you  a  tent-peg. 
If  you  are  inexperienced,  and  cherish  memories  of 
striped  lawn  markees,  you  will  cut  them  about  six 
inches  long.  If  you  are  wise  and  old  and  gray  in 
woods  experience,  you  will  multiply  that  length  by 
four.  Then  your  loops  will  not  slip  off,  and  you  will 
have  a  real  grip  on  mother  earth,  than  which  nothing 
can  be  more  desirable  in  the  event  of  a  heavy  rain  and 
wind  squall  about  midnight.  If  your  axe  is  as  sharp 
as  it  ought  to  be,  you  can  point  them  more  neatly  by 
holding  them  suspended  in  front  of  you  while  you  snip 
at  their  ends  with  the  axe,  than  by  resting  them  against 
a  solid  base.  Pile  them  together  at  the  edge  of  the 
clearing.  Cut  a  crotched  sapling  eight  or  ten  feet 
long.     Now  unpack  your  tent. 

In  a  wooded  country  you  will  not  take  the  time  to 
fool  with  tent-poles.  A  stout  line  run  through  the 
eyelets  and  along  the  apex  will  string  it  successfully 


34  ENGLISH  COMPOSITION 

between  your  two  trees.  Draw  the  line  as  tight  as 
possible,  but  do  not  be  too  unhappy  if,  after  your  best 
efforts,  it  still  sags  a  little.  That  is  what  your  long 
crotched  stick  is  for.  Stake  out  your  four  corners. 
If  you  get  them  in  a  good  rectangle  and  in  such  relation 
to  the  apex  as  to  form  two  isosceles  triangles  of  the 
ends,  your  tent  will  stand  smoothly.  Therefore,  be 
an  artist  and  do  it  right.  Once  the  four  corners  are 
well  placed,  the  rest  follows  naturally.  Occasionally 
in  the  North  Country  it  will  be  found  that  the  soil  is 
too  thin,  over  the  rocks,  to  grip  the  tent-pegs.  In 
that  case  drive  them  at  a  sharp  angle  as  deep  as  the}^ 
will  go,  and  then  lay  a  large  flat  stone  across  the  slant 
of  them.  Thus  anchored,  you  will  ride  out  a  gale. 
Finally,  wedge  your  long  sapling  crotch  under  the  line 
— outside  the  tent,  of  course — to  tighten  it.  Your 
shelter  is  up.  If  5^ou  are  a  woodsman,  ten  or  fifteen 
minutes  has  sufficed  to  accomplish  all  this. 

The  Forest,  by  Stewart  White. 

Are  Mr.  White's  directions  clear,  orderly, 
complete?  What  one  thing  above  all  others 
does  Mr.  White  wish  to  impress  upon  the  reader? 
How  does  he  do  this?  How  many  things  does 
he  warn  the  reader  not  to  do?  Has  Mr.  White 
used  you  and  your  more  freely  than  was  neces- 
sary? Try  to  reconstruct  some  of  his  sentences, 
omitting  these  words.  Suggest  an  appropriate 
title  for  each  paragraph.  Put  a  plan  of  this  com- 
position on  the  blackboard. 


EXPOSITION  35 

EXERCISE   19 
Written 

Write  a  composition,  about  half  as  long  as  Mr. 
White's,  in  which  you  tell  how  to  do  something. 
Draw  from  your  own  experience,  yet  select  if  pos- 
sible from  the  list  which  follows. 

1.  How  to  mark  out  an  elliptical  flower-bed.  2.  How 
to  darn  stockings.  3.  How  to  get  up  an  amateur  circus. 
4.  How  to  build  a  fire  out  of  doors.  5.  How  to  remove 
stains  from  clothing.  <>.  How  to  mark  out  a  tennis- 
court.  7.  How  to  clean  windows.  8.  How  to  locate  a 
bee-tree.  9.  How  to  make  hay.  10.  How  to  manage 
a  Hallowe'en  party.  11.  How  to  wash  dishes.  12. 
How  to  sweep  a  room.  13.  How  to  mark  out  a  base- 
ball diamond.  14.  How  to  take  care  of  a  bicycle.  15. 
How  to  catch  trout.  16.  How  to  train  a  bird-dog. 
17.  How  to  take  a  picture.     IS.  How  to  learn  to  swim. 


CHAPTER   IV 
DESCRIPTION 

A  STORY  which  fails  to  let  the  reader  know  how 
its  characters  look  and  in  what  kind  of  place  they 
live  does  not  satisfy.  Frequently  an  exposition 
is  as  blind  as  can  be,  until  a  picture  is  given  of 
the  thing — a  machine,  we  will  say — the  workings 
of  which  are  being  explained.  In  fact  it  matters 
little  what  we  may  be  talking  or  writing  about, 
we  are  sure  to  need  pictures  sooner  or  later. 
The  kind  of  composition  which  gives  a  picture  is 
called  description.  Speaking  with  greater  ac- 
curacy, all  records  of  what  the  eyes  see,  the  ears 
hear,  the  nose  smells — all  records  of  impressions 
are  called  descriptions. 

What  is  the  secret  of  this  important  kind  of 
composition?  Evidently  it  is  clearness.  Before 
we  can  describe  anything  clearly,  we  must  see  it 
clearly.  But  even  though  we  see  a  thing  clearly, 
have  it  before  us  as  we  talk  or  write,  it  is  seldom 
easy  to  describe  it.  Perhaps  we  use  words  in- 
accurately, or  carelessly  forget  to  mention  some 

36 


IX  -    l:lis 


Copyrighted  liy  the  iVrry  Pictures  Coinpani'.     Lst»l  by  [>ermissiOD 


i)i':scRiP'ri().\  37 

important  detail.  And  own  thougli  we  have 
seen  clearly,  have  used  words  with  |)rocision,  and 
have  forgotten  no  detail,  all  may  be  confusing 
because  the  description  is  not  given  in  an  orderly 
manner.  It  is  like  a  machine  improperly  put 
together.  If  you  would  make  your  descriptions 
clear,  be  thorough,  he  accurate,  be  orderly. 


EXERCISE  20 
Written 

Imagine  that  one  of  the  folloiving  things  has  been 
lost  or  stolen  and  that  you  have  been  called  upon  to 
give  in  ten  or  fifteen  lines  an  accurate  description 
of  it.     Use  complete  sentences. 

1.  A  set  of  okl  china.  2.  A  piece  of  furniture.  3.  A 
postal  album.  4.  A  piece  of  jewelry.  5.  A  dog.  6.  A 
cat.  7.  A  horse.  8.  The  schoohoom  clock.  9.  An 
overcoat.  10.  A  boat.  11.  A  bicycle.  12.  An  odd 
cane.  13,  A  school-book.  14.  A  canary.  15.  A  piece 
of  statuary. 


EXERCISE  21 
Written 

Perhaps  Mars  is  inhabited  and  perhaps  not. 
We  will  imagine  that  it  is,  and  that  wireless  tele- 
graph  communications   have   been   established. 


38  ENGLISH  COMPOSFFION 

Messages  are  flying  back  and  forth,  for  the 
Martians  want  to  know  all  about  our  world  and 
we  are  equally  curious  about  theirs.  We  learn 
that  there  are  no  church  spires  in  Mars,  no  ferry- 
boats, no  easy  chairs;  in  fact  there  are  very  few 
things  such  as  are  familiar  to  us. 

Write  a  twenty -line  description  for  an  inhabitant 
of  Mars,  selecting  a  subject  from  the  following 
list.  Make  your  description  clear  as  sunlight; 
otherwise  you  will  not  be  understood.  Bring  in 
explanation,  if  it  is  needed. 

1.  Church  spires.  2.  A  ferry-boat.  3.  Easy-chairs. 
4.  A  telescope.  5.  The  peanut  man's  outfit.  6.  A  hurdy- 
gurdy.  7.  A  watch.  8.  A  jack-knife.  9.  A  school- 
room desk.  10.  A  postage  stamp.  11.  A  bicycle.  12.  An 
apron.     13.  An  electric  light.     14.  A  banjo. 


EXERCISE  22 
Written 

Opposite  page  36  is  a  picture  of  Franklin's 
birthplace.  In  many  ways  it  differs  from  the 
houses  we  see  nowadays.  Notice  the  overhang- 
ing upper  story,  the  projecting  foundations, 
the  cellar  door,  the  small-paned  windows.  If 
you  were  describing  it,  what  should  you  mention 
first?  What  next?  How  would  it  do  to  begin 
at  the  bottom  of  the  picture  and  work  up?     Or 


i)i-;s('i:ini(>\ 


at  the  top  and  work  down?  Or  would  it  he 
bettor  to  give  in  a  sentence  or  two  a  general 
description,  then  go  into  details,  finally  giving 
the  impression  the  picture  as  a  whole  makes  on 


vou? 


Sludij  the  picture,  determine  how  i/ou  will  proceed, 
then  describe  it  as  well  as  you  can  in  fifteen  lines. 


EXERCISE  23 
Written 

Opposite  page  38  is  the  picture  of  another 
old  buildinf;^.  It  is  a  larger,  more  elaborate 
dwelling  than  Franklin's;  there  is  more  in  the 
picture  to  describe.  Notice  the  trees,  the 
shadows,  the  roadway — a  score  of  things  which 
the  other  picture  lacks.  There  is  more  feeling  in 
this  picture,  more  to  stir  the  emotions.  You 
cannot  help  thinking  of  how  much  has  taken  place 
in  this  ancient  dwelling,  of  the  good  times  and  the 
sorrowful  times  it  knew  before  the  days  of  the 
telephone  and  the  telegraph.  Who  planted  the 
elm  trees  and  the  lilac  bushes? 

Write  a  forty-line  description  of  this  photograph. 
Let  the  first  four  or  five  lines  sJcetch  the  scene  in 
outline,  then  give  in  systematic  order  the  details. 
End  with  an  account  of  how  the  picture  impresses 


40  ENGLISH  COMPOSITION 

you,  what  it  calls  to  mind.     Personify  the  dwelling, 
if  you  wish. 


EXERCISE  24 

Oral 

Describe  a  building  with  which  you  are  well  ac- 
quainted. Perhaps  the  following  list  will  prove 
suggestive. 

1.  The  oldest  house  in  town.  2.  My  house.  3.  The 
house  across  the  way.  4.  The  schoolhouse.  5.  A  sky- 
scraper. 6.  A  deserted  farmhouse.  7.  A  log  cabin. 
8.  The  blacksmith-shop.  9.  A  factory.  10.  The  rail- 
road station.     11.  The  roundhouse. 


EXERCISE  25 

Written 

Here  is  an  architect's  drawing  showing  a 
dining-room  in  a  model  house.  Examine  it  care- 
fully to  see  whether  you  like  it.  What,  should 
you  say,  are  its  dimensions?  What  are  its  most 
noticeable  features,  distinguishing  it  from  other 
dining-rooms  you  have  seen? 

Describe  this  picture  in  ten  or  fifteen  lines;  then, 
if  you  care  to,  add  five  or  ten  lines  giving  your 
approval  or  disapproval  of  the  architects  plan. 


DKSCRIP'IIOX  41 


EXERCISE  26 
Oral  or  Written 

Give  as  accurate  and  fel/ing  a  picture  as  you 
can  of  one  of  the  following  interiors.  Imagine  that 
you  are  talking  to  a  blind  boy.  Do  not  forget  that 
you  have  other  senses  besides  the  sense  of  sight. 

1.  Our  attic.  2.  ( )ur  cellar.  3.  A  store  window. 
4.  The  bird  store,  o.  A  stateroom.  6.  A  I'ullnian  car. 
7.  A  country  store.  8.  Our  pantry.  9.  The  woodshed. 
10,  A  boy's  room.  11.  A  cosey  corner.  12.  A  beehive, 
l'-).  The  waiting-room  at  the  dentist's.  14.  The  school- 
room. 15.  The  waiting-room  at  the  raih'oad  station. 
16.  A  section  of  a  department  store.  17.  A  studio. 
18.  The  reading-room.  19.  The  ])lacksmith-shop. 
20.  The  gymnasium.  21.  A  cave.  22.  Amine.  23.  A 
log  cabin.  24.  An  auction  room.  25.  A  church  steeple. 
26.  An  engine-room. 


CHAPTER    V 
DESCRIPTION— Con^mi/e(Z 

A  CAMERA,  if  given  sunlight,  tells  the  truth. 
Whatever  comes  in  front  of  its  lens  appears  in  the 
photograph.  No  detail  is  forgotten,  nothing  is 
out  of  its  proper  place.  The  human  eye  is  a 
camera.  In  a  way  it  is  right  to  say  that  what- 
ever comes  in  front  of  it  is  photographed  on  the 
retina.  Yet  we  all  know  that  much  which  the 
eye  sees  does  not  make  any  permanent  impres- 
sion; we  retain  merely  what  interests  us  and 
let  the  rest  fade  away.  And  in  describing  what 
we  have  seen  not  only  do  we  give  far  fewer  de- 
tails than  the  camera  gives,  merely  selecting  an 
item  here,  an  item  there,  and  assuming  that  the 
imagination  of  the  one  to  whom  we  are  writing 
or  talking  will  supply  the  rest,  but  we  tell  how 
we  are  impressed.  We  give  our  emotions.  A 
camera  does  not  select,  a  camera  does  not  express 
emotions  peculiar  to  itself;  for  a  camera  is  with- 
out brains  and  heart. 

It  will  be  well  to  remember  this  distinction 

42 


DKSCRiniOX  43 

between  a  camera  and  a  person,  while  doing  the 
tasks  which  f()lh)W — tasks  somewhat  more  dilJi- 
cult  than  you  have  attempted  thus  far.  Remem- 
ber that  you  have  a  brain  and  a  heart.  Re- 
member that  what  you  see  in  a  picture  or  a  scene 
dilTers  from  what  any  one  else  sees  in  it;  for  no 
two  pairs  of  eyes  select  the  same  things.  But  he 
like  the  camera  in  one  respect.  A  camera  stands 
still,  except  when  moved  by  the  photographer. 
Sometimes  when  we  are  describing  a  scene  we  tell 
what  we  see  from  one  standpoint,  and  then,  with- 
out notifying  the  reader,  we  continue  our  descrip- 
tion from  another  standpoint.  This,  of  course, 
causes  confusion.  It  is  well  to  let  the  reader 
know  at  the  beginning  of  a  description  what  the 
describers  viewpoint  is,  and  of  course  it  is  es- 
sential that  the  reader  be  notified  whenever  there 
is  a  change  in  viewpoint. 

EXERCISE  27 

Written 

Think  of  some  place  out  of  doors  which  interests 
you  exceedimjl ij ,  a  place  you  like  to  visit  over  and 
over  again.  Describe  it  for  a  friend  who  lives  across 
the  Atlantic.  Try  not  only  to  make  him  see  it,  but 
to  make  him  like  it.  Perhaps  the  following  titles 
will  prove  suggestive. 


44  ENGLISH  COMPOSITION 

1.  Our  swimming-hole.  2.  A  trout-pool.  3.  A  way- 
side watering-trough.  4.  A  village  green.  5.  A  nook 
in  the  woods.  6.  A  flower  garden.  7.  A  maple  grove. 
8.  The  picnic-grounds.  9.  The  apple-orchard.  10.  The 
school-yard.  11.  The  lumber-camp.  12.  A  bit  of  a 
city  park.  13.  The  w^harves.  14.  The  athletic  field. 
15.  The  mill-pond.     16.  The  tennis-courts. 

To  describe  clearly  an  extended  view  calls  for 
more  ability  than  any  task  assigned  thus  far,  for 
where  the  eye  sees  so  much  the  necessity  of 
selecting  a  few  things  from  among  many  becomes 
great,  as  does  the  necessity  of  having  a  definite 
plan.  In  the  first  canto  of  Scott's  Lady  of  the 
Lake  there  is  a  most  elaborate  description  of  the 
Trossachs,  a  wild  glen.  First,  Scott  gives  in  a 
few  sentences  a  general  description.  Then,  be- 
ginning at  the  bottom  of  the  ravine  and  gradually 
climbing  to  lofty  peaks,  he  describes  the  vegeta- 
tion. Finally  he  pictures  a  rivulet  running 
through  the  glen,  telling  how  it  winds  in  and  out, 
and,  growing  larger  and  larger,  at  length  flows  into 
Loch  Katrine.  Not  only  is  his  description  very 
thorough  and  orderly;  it  is  made  beautiful  and 
vivid,  by  means  of  comparisons.  The  rocky  sum- 
mits suggest  to  him  turrets  and  domes  and 
battlements.  The  brier-rose  and  the  creeping 
shrubs  are  banners.  The  streamlet,  as  it  broad- 
ens here  and  there,  forms  a  dark-blue  mirror. 


J 


DlCSClMI'l  lov  4^) 

Many  of  tlie  trees  clinging  to  tlic  rocks  arc 
likened  to  brave  warriors.  Scott  was  a  poet, 
with  an  eye  trained  to  see  beauty,  and  a  mind 
that  was  quick  to  discover  likenesses.  But  we 
are  all  poets,  to  a  degree,  and  can  train  ourselves 
to  make,  in  a  natural  way,  little  comparisons 
that  add  beauty  and  vividness.  Keep  this  in 
mind  when  performing  the  next  two  tasks. 

EXERCISE  28 
Oral   or  Written 

Describe  the  English  lake  shown  in  the  illustra- 
tion entitled  Rydal  Water.  Trtj  to  -jirofjt  h)/  the 
suggestions  given  in  the  preceding  paragraph. 

EXERCISE  29 
Oral  or  Written 

Describe  an  extended  view  with  which  you  are 
very  familiar,  giving  your  composition  one  of  the 
titles  suggested  below. 

1.  The  city  as  seen  from  the  top  of  a  high  building. 
2.  From  the  brow  of  the  hill.  3.  A  large  pond.  4.  A 
(oiintry  road.  5.  Tracing  the  course  of  a  stream. 
(').  A  range  of  hills.  7.  Looking  down  on  the  harbor. 
S.  A  farm.  9.  A  \illage  seen  in  the  distance.  10.  A 
battle-field.  11.  Looking  down  a  city  street.  12.  A 
park. 


46  ENGLISH  COMPOSITION 


EXERCISE  30 

Written 

Here  is  a  reproduction  from  a  painting  by 
Breton.  It  is  called  Song  of  the  Lark.  Does 
it  interest  you  at  all?  It  may  not  at  first,  but 
probably  if  you  study  it  long  enough  interest 
will  come.  Where,  should  you  guess,  is  the  scene 
laid?  Is  it  the  sun  that  is  rising  behind  the  trees 
in  the  background,  or  the  moon?  Where  is  the 
girl  going?  How  old  is  she?  Does  she  look 
strong,  vigorous,  healthy?  Is  she  an  intelligent 
girl?  Is  she  happy?  Is  she  poor?  In  what 
respect  is  her  costume  unusual?  She  is  listening, 
is  she  not?  How  does  the  painter  let  you  know 
that  she  is  listening  most  intently?  When  a 
great  painter  makes  a  picture,  he  has,  usually  if 
not  always,  a  thought  which  he  wishes  to  impress. 
Do  you  catch  the  thought  lying  back  of  this 
picture? 

Describe  Breton's  Song  of  the  Lark  and  tell  what 
the  picture  means.  Pay  particular  attention  to  the 
expression  of  the  girVs  face. 

To  give  in  a  few  lines  a  clear  description  of  a 
person  is  of  course  most  difficult;  for  such  a 
description  should  tell  far  more  than  that  which 
the    camera    tells.     Notice    the    following,    for 


Song  of  the  Lark 


DESCKil'IiOX  47 

exaiiipK',    taken   from   a  recent   number   of  the 
Literary  IHtjest. 

He  is  forty-six,  a  shy,  gentle  httle  iiuui,  seklom  speak- 
ing, bhishing  wlien  applauded,  stuttering  if  suddenly 
aecostcd,  and  dismayed  \vh(>n  ])eople  call  him  'master.' 
He  wears  a  close-fitting  black  frock  coat.  He  is  bald 
as  an  egg;  his  cheeks  arc  bordered  with  a  short  gray 
beard;  his  strong,  straight  nose  carries  a  pair  of  thick, 
round  glasses,  and  the  eyes  that  look  through  them  are 
mild  and  a  trifle  wearied. 

No  doubt  you  will  agree  that  this  is  a  good 
description,  and  that  it  is  good  because  it  tells 
far  more  than  could  any  photograph. 

Here  is  another  pen-portrait,  taken  from 
Dombey  and  Son.  Perhaps  it  tells  but  little 
more  concerning;  ^Ir.  Bunsby  than  would  a 
photograph;  but  it  surely  reveals  the  personality 
of  Mr.  Dickens.  Can  you  tell  how  this  portrait 
differs  from  the  one  just  considered,  as  regards 
the  method  of  description? 

Immediately  there  appeared,  coming  slowly  up  above 
the  bulkhead  of  the  cabin,  another  bulkhead — human, 
and  verj'  large — with  one  stationar\'  eye  in  the  mahogany 
face,  and  one  movable  one,  on  the  i)rinciple  of  some 
lighthouses.  This  head  was  decorated  with  shagg\'  hair, 
like  oakum,  which  had  no  governing  inclination  towards 
the  north,  east,  west,  or  south,  but  inclined  to  ever}- 
point  upon  it.  The  head  was  followed  by  a  perfect 
desert  of  chin,  and  l)y  a  shirt-collar  and  neckerchief,  and 


48  ENGLISH  .COMPOSITION 

by  a  dread-nought  pilot-coat,  and  by  a  pair  of  dread- 
nought pilot-trousers,  whereof  the  waistband  was  so 
broad  and  high  that  it  became  a  succeedaneum  for  a 
waistcoat,  being  ornamented  near  the  wearer's  breast- 
bone with  some  massive  wooden  buttons,  like  back- 
gammon men.  As  the  lower  portions  of  these  pantaloons 
became  revealed,  Bunsby  stood  confessed;  his  hands 
in  their  pockets,  which  were  of  vast  size;  and  his  gaze 
directed,  not  at  Captain  Cuttle  or  the  ladies,  but  to  the 
mast-head. 

EXERCISE  31 
Written 

Write  a  description  from  ten  to  twenty  lines 
long,  suggested  by  one  of  the  titles  given  below.  Try 
to  make  the  portrait  reveal  character.  Imagine 
that  the  person  who7n  you  are  describing  is  doing 
some  characteristic  thing. 

1.  Grandmother.  2.  The  tramp.  3.  A  small  boy 
with  new  rubber  boots.  4.  The  disgusted  fisherman. 
5.  The  postman.  6.  My  best  friend.  7.  A  beggar. 
8.  The  baby.  9.  The  grocer's  clerk.  10.  Father.  11.  Our 
doctor.  12.  George  Washington.  13.  The  electric  car 
conductor.  14.  The  automobilist.  15.  ''Any  rags!" 
16.  The  hotel  clerk.  17.  The  organ-grinder.  18.  The 
boy  who  sits  across  the  aisle.  19.  The  peanut  man. 
20.  The  girl  behind  the  notion  counter.  21.  The 
football  novice.  22.  The  small  boy  at  the  circus. 
23.  Faces  seen  at  the  Zoo.  24.  The  judge.  25.  A  face 
from  the  family  album.  26.  A  successful  cartoon. 
27.  Our  parrot.     28.  A  mischievous  girl  in  school. 


CHAPTER   VI 
ARGUMENT 

Narration  tells  a  story,  exposition  explains, 
and  description  pictures.  A  fourth  kind  of 
composition,  which  consciously  or  unconsciously 
we  use  many  times  a  day,  is  argument.  When 
we  try  to  reason  out  what  is  true,  what  is  right, 
what  is  expedient,  we  argue.  Success  in  life 
depends  in  no  small  measure  upon  one's  ability 
to  argue,  for  through  argument  we  convince 
others  and  persuade  them  to  do  as  we  wish. 
Training  counts  here  quite  as  much  as  it  does 
in  other  kinds  of  battle,  and  there  is  no  better 
place  in  which  to  begin  systematic  training  than 
a  school  debating  club.  By  all  means  join  one  as 
soon  as  you  can,  whether  you  are  a  boy  or  a  girl. 
Learn  to  talk  fearlessly  when  facing  an  audience. 
Learn  how  to  defend  yourself  without  losing  your 
head  or  your  temper  when  under  fire.  Here 
are  a  few  simple  suggestions  which  may  help 
you  in  your  early  attempts. 

L  In  preparing  a  debate  it  is  necessary  to 

49 


50  ENGLISH  COMPOSITION 

spend  a  good  share  of  your  time  in  collecting  facts. 
Before  you  can  argue  intelligently  you  must 
know  your  subject  thoroughly.  The  judges  too 
must  be  educated:  otherwise  thev  cannot  deter- 
mine  whether  your  arguments  are  sound.  Burke, 
one  of  England's  ablest  debaters,  often  devoted 
over  a  third  of  a  speech  to  a  clear  statement  of 
facts — information  which  his  hearers  needed 
before  they  could  see  the  force  of  his  arguments. 
Lincoln,  it  is  said,  won  his  law  cases  largely 
through  his  patient,  thorough  way  of  spreading 
out  before  judge  and  jury  all  the  facts,  rather 
than  through  shrewdness  in  argument.  Be  well 
informed  yourself,  then  inform  those  whom  you 
are  addressing:  that  is  surely  the  first  thing  in 
all  debate. 

2.  The  facts  having  been  ascertained  and 
clearly  presented,  it  is  time  to  advance  reasons 
or  proofs.  In  later  years,  if  you  remain  in  school, 
you  will  learn  that  there  are  certain  definite 
ways  of  proving  things,  but  to  attempt  to 
explain  them  now  would  probably  end  in 
confusion;  so  we  will  confine  ourselves  to  three 
suggestions. 

First,  do  not  try  to  give  too  many  proofs.  Of 
ten  which  may  occur  to  you,  probably  several  are 
a  little  wide  of  the  mark,  do  not  really  prove  any- 
thing which  you  are  under  obligations  to  prove; 


ARGUMENT  51 

and  several  others,  it  may  be,  are  after  all  too 
feeble  to  be  of  much  value.  Can  you  not  spare 
them?  Two  or  three  strong  proofs  will  be 
enough.  A  well-directed  cannon  is  worth  dozens 
of  shot-guns. 

Second,  remember  that  merely  stating  an 
argument  amounts  to  little.  You  must  put  facts 
back  of  it;  you  must  restate  it  this  way  and  that, 
illustrating  it  by  example  after  example;  you 
must  clear  away  objections  which  may  interfere 
with  its  acceptance.     Drive  it  home. 

Third,  see  that  your  matter  is  well  arranged. 
Let  your  hearers  know  early  in  your  plea  what, 
in  a  general  way,  is  to  be  your  line  of  proof.  It 
is  equally  important  that  you  turn  back,  just 
before  closing,  and  review  what  you  have  said, 
summarizing,  condensing  everything  into  a  nut- 
shell. 


EXERCISE  32 
Oral 
A  statement  to  be  debated  is  called  a  proposi- 
tion. The  proposition  should  be  so  simply  and 
clearly  stated  that  there  can  be  no  doubt  in 
regard  to  what  it  means;  for  if  one  side  under- 
stands the  question  in  one  way  and  the  opposing 
side  in  another  way,  there  can  be  no  fair  contest. 


52  •  ENGLISH  COMPOSITION 

Many  school  debates  end  in  a  tangle  because  this 
matter  is  not  properly  attended  to;  and  in  the 
world  at  large  it  is  probably  true  that  wrangling 
and  the  hard  feelings  sure  to  follow  are  due  less  to 
a  real  difference  in  opinion  than  to  carelessly 
worded  and  carelessly  interpreted  statements. 

Point  out  words  in  the  following  propositions 
which  are  too  indefinite.  Try  to  so  reword  each 
statement  that  it  will  no  longer  be  vague. 

1.  Sunday  recreations  should  be  prohibited.  2.  Girls 
should  be  taught  manual  training.  3.  Cheap  books  ought 
not  to  be  circulated  by  pubHc  libraries.  4.  It  is  wrong  to 
hunt  and  fish.  5.  Polar  expeditions  do  not  pay.  6.  Too 
many  hours  a  day  should  not  be  devoted  to  exercise. 
7.  Everybody  should  attend  church.  8.  City  stores 
should  close  half  a  day  a  week  during  warm  weather. 


EXERCISE  33 

Written 

Select  two  propositions  from  those  found  below. 
Find  three  reasons  in  support  of  each  and  three 
against;  arrange  these  in  the  order  of  their  im- 
portance, placing  the  strongest  last. 

1.  Two  half-holidays  a  week  would  be  better  for  our 
school  than  one  whole  holiday.  2.  Two  sessions,  one 
in  the  forenoon  and  one  in  the  afternoon,  would  be  better 
for  our  school  than  the  present  single  session.    3.  Monday 


AR(ir.Mi-:.\  r  r,:i 

would  make  a  bettor  school  holiday  than  Saturday. 
4.  Every  boy  should  own  a  do";.  ').  All  cats  should  be 
exterminated.  G.  Girls  should  contribute  money  to 
help  defray  the  expenses  of  our  athletic  association. 
7.  If  a  street  car  is  crowded,  able-bodied  men  should 
ofTer  their  seats  to  ladies  who  are  standing. 


EXERCISE   34 

Written 

Take  one  of  the  reasoyis  which  you  advanced  in 
the  preceding  exercise  and,  using  it  as  the  first  sen- 
tence of  a  paragraph,  add  a  number  of  sentences 
reenforcing  it.  Explain,  illustrate,  or  do  whatever 
you  think  necessary  to  make  your  reasoning  effective. 

Take  one  of  the  reasons  which  you  advanced  in 
the  previous  exercise  and  try  to  show  that  it  is  weak 
or  wholly  false. 


EXERCISE  35 
Oral 

No  matter  how  carefully  a  military  campaign 
may  be  planned,  the  opposing  generals  are 
practically  sure  to  meet  some  surprises.  The 
unexpected  happens;  things  do  not  work  out  as 
planned.  It  is  the  same  in  debate,  which  after 
all  is  a  kind  of  warfare.     Frequently  the  enemy 


54  ENGLISH  COMPOSITION 

discovers  weak  spots  in  what  you  have  thought 
were  your  strongest  arguments.  Even  though 
you  have,  very  properly,  studied  both  sides  of  the 
question  with  equal  care,  counter-arguments  will 
be  advanced  which  have  not  occurred  to  you  at 
all,  it  may  be.  Such  unexpected  turns  call  for 
quick,  clear  thinking,  ability  to  judge  whether  an 
attack  is  worth  noticing  or  merely  a  ruse,  ability 
to  detect  in  one's  opponent's  argument  a  fallacy. 
A  fallacy  is  an  unsound  or  deceptive  course  of 
reasoning.  It  may  take  many  different  forms, 
and  when  cleverly  disguised  is  often  hard  to 
detect,  especially  in  the  heat  of  debate. 

Show  wherein  consists  the  fallacy  in  each  of  the 
following.  Make  your  explanation  as  dear  as  if 
you  were  taking  part  in  a  debate. 

1.  Boys  should  not  be  allowed  to  go  in  bathmg,  for 
bathing  frequently  leads  to  fatal  accidents.  2.  For 
three  years  in  succession  it  has  rained  on  circus  day; 
therefore  circuses  cause  rain.  3.  It  always  rains  on 
circus  day.  To-morrow  is  circus  day;  therefore  it  will 
rain  to-morrow.  4.  WTien  I  asked  Mary  what  time  it 
was,  she  glanced  at  the  clock  and  then  said/' Ten-thirty." 
But  when  I  looked  at  the  clock  a  minute  later,  it  was 
but  twenty-nine  minutes  of  ten.  Therefore  Mar>'  meant 
to  deceive  me.  5.  Mr.  Clark  the  machinist  says  that  my 
bicycle  is  very  well  made,  but  Tommy  Jones  and  his 
brother  William  both  say  that  it  is  worthless.  Since 
two  pronounce  the  wheel  poor  and  only  one  pronounces 


AR(.I  Mi:\T  55 

it  good,  I  conclutlo  that  I  have  a  poor  wheel.  6.  Many 
great  men  have  been  wretched  jwnmen.  I  am  a  wretched 
penmen;  therefore  I  sliall  l>e  a  great  man.  7.  Bird.s 
can  fly.  I  am  muih  larger  and  wiser  than  any  bird; 
therefore  I  too  should  be  able  to  fly.  S.  If  I  want  a  canoe 
I  must  buy  one  or  else  steal  one.  Since  I  cannot  de- 
grade myself  sufliciently  to  steal,  I  shall  never  have  a 
canoe  unless  I  buy  one.  9.  Mary,  who  is  five  feet  tall, 
looks  charming  in  a  blue  gown.  Therefore  Edna,  who  is 
also  five  feet  tall,  would  look  charming  in  a  blue  gown. 
10.  The  flowers  of  the  field  do  not  toil,  yet  how  beautiful 
and  hapjiv  they  arc!  Therefore  I  will  not  toil.  11.  I 
have  never  seen  a  purple  cow,  nor  have  I  ever  heard  of 
one;  therefore  there  are  no  purjile  cows.  12.  Either 
it  rains  or  it  does  not  rain.  It  does  not  rain;  therefore 
it  rains.  13.  The  umpire  said  that  the  runner  was  .safe 
at  third  base;  but  the  ruimer  admits  that  he  was  out. 
The  third  baseman  is  uncertain.  I  conclude  that  the 
runner  was  out. 


EXERCISE  36 
Oral 

Let  every  pupil  come  to  class  prepared  to  ad- 
vance arguments  for  or  against  two  of  the  following 
statements,  the  two  to  be  previously  selected. 

The  instructor  will  arrange  in  parallel  columns 
on  the  blackboard  ary;uments  given  for  and 
against  each  proposition.  As  often  as  an  argu- 
ment is  fairly  refuted  by  any  one,  a  line  will  be 


56  E.N'GLISH  COMPOSITION 

drawn  through  it.  At  the  close  of  the  period  a 
vote  will  be  taken  to  determine  whether  the 
statements  are  true. 

1.  The  girls  should  have  an  athletic  association  as 
well  as  the  boys.  2.  Pupils  ought  not  to  tn-  to  earn 
money  while  attending  high  school  unless  compelled  to 
do  so  to  support  themselves.  3.  Latin  is  a  more  useful 
language  than  French.  4.  Ever^-  boy  should  be  taught 
how  to  use  firearms.  5.  Football  should  be  abolished. 
6.  Badges  of  honor  should  be  given  for  excellence  in 
scholarship,  just  as  now  they  are  given  for  success  in 
athletics.  7.  The  school  paper  is  of  as  much  importance 
as  the  school  athletic  association.  S.  Tennis  is  a  better 
game  than  golf. 


EXERCISE  37 
Oral 

Let  the  class  select  jour  members  to  debate  one  of 
the  following  propositio)is  a  week  later.  Those  not 
selected  will  have  the  privilege  of  volunteering  on 
either  side. 

1.  The  orator  exerts  a  greater  influence  than  the 
editor.  2.  The  dramatist  exerts  a  greater  influence  than 
the  novelist.  3.  Sh^-lock  is  a  nobler  character  than 
Isaac  of  York.  4.  Rebecca  is  a  nobler  woman  than 
Rowena.  5.  The  posting  of  advertisements  on  bill- 
boards should  be  prohibited  by  law.  6.  The  million- 
aire is  more  to  be  pitied  than  the  man  who  has  an  income 


AR(jrMi:.\r  57 

of  fifteen  liundred  dollars  a  year.  7.  The  ])uhli.sliing 
of  cartoons  of  the  President  should  be  prohibited  by 
law.     S.  The  dog  is  a  nobler  animal   than   the  horse. 

9.  The  doctor's  profession  is  nobler  than  the  lawyer's. 

10.  Two  years  of  travel  constitutes  a  better  prepara- 
tion for  life  than  four  years  in  college. 


EXERCISE  38 
Written 

Defend  either  side  of  one  of  the  following  'pro'po- 
sitions. 

1.  A  private  workshop  is  better  for  the  average  boy 
than  a  library  of  one  hundred  well-chosen  books.  2.  A 
sailboat  would  be  better  for  me  than  an  automobile. 
3.  Our  school  should  have  an  athletic  field.  4.  Birds 
reason.  5.  The  boy  who  livci^  in  the  country  is  more 
to  be  envied  than  the  boy  who  lives  in  the  city.  6.  It 
is  dishonest  to  get  aid  from  a  fellow  pupil.  7.  It  is 
useless  to  own  books,  if  one  has  access  to  a  good  pul^lic 
library.  8.  Lee  was  a  greater  commander  than  Grant. 
9.  The  Xavy  did  better  ser\-ice,  during  the  Civil  War, 
than  the  Army. 


CHAPTER  VII 
LETTER-WRITING 

A  LETTER  is  but  a  composition.  Whatever 
practice  we  give  ourselves  in  telling  accurately 
and  in  a  pleasing  manner  what  we  have  heard  or 
seen,  what  we  have  felt,  what  we  believe,  will  help 
us  to  write  better  letters.  There  are,  however, 
certain  rules  with  which  one  should  be  familiar, 
rules  established  by  custom  in  regard  to  how 
letters  should  begin  and  close.  These  will  now 
be  considered. 

Every  complete  letter,  it  is  well  to  remember, 
has  seven  parts:  the  heading,  which  tells  where 
and  when  the  letter  is  written;  the  address,  which 
tells  to  whom  it  is  written;  the  salutation  or  greet- 
ing; the  body  or  letter  proper;  the  leave-taking — 
Yours  truly  or  Very  truly  yours,  for  example;  the 
signature  of  the  writer;  the  superscription,  or  that 
which  is  written  on  the  envelope.  Perhaps  the 
best  way  to  fix  in  the  mind  how  these  parts 
should  be  arranged  will  be  to  examine  them  one 
or  two  at  a  time  through  illustrations. 

58 


LF/iTKR-WRrrixr;  59 

The  heading  is  commonly  placed  in  the  upper 
right-hand  corner  of  the  first  page,  an  inch  or  two 
from  the  top  and  fairly  near  the  right-hand  edge. 

Heading 

158  Corporal  St.,  Hartford,  Conn. 
Oct.  25,  1904 

In  the  model  above,  the  various  items  are  arranged 
in  two  lines;  but  one,  two,  or  three  lines  may  be 
used,  according  to  the  writer's  taste.      The  date 
always  comes  last,  and  should  never  be  omitted, 
no  matter  what  the  character  of  the  letter  may 
be.      But  the  rest  of  the  heading — that  which 
tells  where  the  letter  is  written — need  not  be 
given   in   full    or   at   all,  if   the   one  to   whom 
the  letter  is  written  knows  perfectly  well  where 
the    sender  lives.     Sometimes   in  social  corre- 
spondence, but  never  in  a  business  letter,  the  ad- 
dress of  the  sender  and  the  date  of  writing  are 
placed  at  the  close  rather  than  at   the  begin- 
ning.    This  is  shown  in  specimen  letters  on  later 
pages.     Note  that  where  two  or  more  items  are 
in  the  same  line  they  are  separated  by  the  comma, 
but  that  no  comma  is  placed  at  the  end  of  a  line, 
and  no  periods  are  used  except  after  abbrevia- 
tions.    In  other  words,  punctuation-marks  are 
placed  only  where  they  are  actually  needed. 


6i) 


ENGLISH  COMPOSITION 


Heading  and  address 


158  Corporal  St.,  Hartford,  Conn. 
Oct.  25,  1904 


Ditson,  Spalding,  &  Company 

21  Elk  St.,  Philadelphia 


In  a  business  letter  the  address  comes  in- 
variably a  space  or  two  below  the  heading  and 
near  the  left  margin,  the  items  being  arranged  in 
one,  two,  or  three  lines,  grouped  symmetrically. 
Here,  as  in  the  heading,  no  punctuation  is 
needed  at  the  ends  of  lines.  In  letters  not  of 
a  business  character,  the  address  is  commonly 
placed  at  the  close.  In  writing  to  intimate 
friends  or  to  relatives,  the  address  is  of  course 
unnecessary  and  is  omitted  altogether. 


Heading,  address,  and  salutation 


158  Corporal  St.,  Hartford,  Conn, 
Oct.  25,   1904 

Ditson,  Spalding,  &  Company 

21  Elk  St.,  Philadelphia 
(Jentlemen: 

I  am  in  receipt  of  your  letter  of  the  second 


ij;r'ri:iv'-\\  i;ri  i.\<;  6i 

The  salutaHon,  you  will  noto,  comos  a  space 
below  the  address,  in  a  business  letter;  in  other 
letters  wliere  th«^  address  is  omitted,  a  space  or 
two  below  the  heading.  h\  cither  case,  it  begins 
at  the  left  margin.  If,  however,  the  address  is 
all  on  one  line,  and  is  very  short,  it  is  better  to 
begin  the  salutatic^n  below  the  last  letter  of  the 
address.  Generally  it  is  followed  by  a  colon. 
\Vhat    the   salutation   should    be  varies    widely 

Heading,  address,  and  salutation 


15S  ('nr])oral  St. 

Hartford,  Conn. 
Oct.  24,  1904 

Professor  Jolni  Tabb, 

Dear  Sir: 

It  will  givo  the  mem- 
bers of  the  Primrose  Club  great  pleasure  if  they 
may  have  your 


with  circumstances.  Sir  and  Madam  are  seldom 
used  in  ordinary  correspondence,  being  very 
formal  and  frigid.  Dear  Sir,  Dear  Madam,  My 
dear  Sir,  and  My  dear  Madam  are  commonly 
used  in  business  correspondence,  and  in  letters 
to  strangers  or  to  those  with  whom  one  is  not 
intimately  acquainted.     They  are  dignified  and 


62  ENGLISH  COMPOSITION 

courteous.  Dear  Madam  is  the  proper  saluta- 
tion in  a  letter  to  an  unmarried  woman  with 
whom  one  is  not  acquainted,  yet  it  is  also  correct 
to  write  My  dear  Miss  Blank.  Gentlemen  and 
Mesdames  are  practically  the  only  forms  now 
used  in  writing  to  business  firms.  My  dear  Mr. 
Blank,  My  dear  Mrs.  Blank,  and  My  dear  Miss 
Blank  are  used  in  social  correspondence,  though 
if  Miss  Blank  is  no  longer  young,  Dear  Madam  is 
a  better  form.  It  is  not  necessary  to  suggest  the 
scores  upon  scores  of  informal  and  affectionate 
salutations,  of  which  Dear  John  and  Dear  Mary  are 
the  simplest  types.  Note  that  in  all  salutations 
dear  does  not  begin  with  a  capital  except  when 
it  stands  first,  but  that  Sir,  Madam,  Miss,  etc., 
being  titles  of  respect,  do  begin  with  capitals. 

The  body,  or  letter  proper,  should  begin  a  space 
below  the  salutation  and  immediately  under  the 
colon.  There  are  few  set  rules  to  observe,  yet 
here  are  hints  which  may  be  of  service.  First, 
business  letters  should  be  clear  and  brief,  for  time 
is  valuable  and  misunderstandings  expensive. 
Second,  to  begin  with  As  I  have  nothing  else  to 
do,  I  will  write,  etc.,  etc.,  or  Having  nothing  else 
to  do,  I  thought  I  would,  etc.,  etc.,  is  surely  un- 
complimentary. It  is,  of  course,  unnecessary  to 
conclude  a  letter  with  Having  nothing  else  to  say, 
I  will  bring  my  letter  to  a  close.     Especially  in 


LElTKR-WlU'IIXf;  C)3 

business  correspondence,  it  is  well  when  answering 
a  letter  to  refer  to  it  in  the  first  sentence,  giving 
its  date.  Thirdly,  avoid  contractions.  YWs  for 
yours,  rec'd  for  received,  <& — except  in  firm  names 
— for  and  are  not  in  good  taste.  We  may  write 
etc.  for  et  cetera,  however,  and  in  business  corre- 
spondence inst.,  prox.,  and  ult.  are  allowable  ab- 
breviations for  Latin  words  meaning  this  month, 
next  month,  and  last  month,  as  in  the  expression 
your  letter  of  the  2lst  inst.  Other  indications  of 
haste,  such  as  undotted  i's,  uncrossed  t's,  lines 
crowded  at  the  ends,  neglected  indentions,  and 
above  all  scrawling  penmanship,  are,  even  though 
not  intended  to  be  so,  disrespectful.  Finally,  fill 
the  pages  in  regular  order,  unless  but  two  pages 
of  a  folded  sheet  are  needed,  when  the  first  and 
third  may  be  used;  and  write  across  the  page 
as  the  lines  are  arranged  in  a  printed  book. 

You  will  find  enclosed  a  check  for  ten  dollars 
and  fifty  cents,  the  amount  due  according  to  your 
price-list. 

Yours  truly, 

William  H.  Burbank 


Leave-taking  and  signature 

The  leave-taking  should  come  a  space  below 
the  body.  Its  position  varies  somewhat,  accord- 
ing to  its  length.       There  are  many  forms,  the 


64  ENGLISH  COMPOSITION 

most  common  being  Yours  truly.  Very  truly  yours, 
Yours  respectfully,  and  Yours  sincerely.  Note 
that  only  the  first  word  of  the  leave-taking  begins 
with  a  capital,  and  that  the  last  word  is  followed 
by  a  comma.  It  is  best  not  to  conclude  the 
body  of  a  letter  with  a  sentence  beginning  with  a 
participle  and  tacked  on  to  the  leave-taking. 
Intsead  of  Hoping  I  may  hear  from  you  soon,  I 
remain,  etc.,  write  simply  I  hope  to  hear  from 
you  soon.  I  remain,  once  popular,  is  seldom  used 
to-day.  Be  very  careful  not  to  write  Yours 
respectively  for  Yours  respectfully. 

The  signature  comes  a  space  below  the  leave- 
taking,  and  near  the  right  edge  of  the  page.  Ex- 
cept in  informal  letters,  use  for  signature  the 
name  you  wish  your  correspondent  to  use  in 
reply.  Confusion  often  arises  when  married 
women  employ  two  signatures  interchangeably. 
Mrs.  Clark  may  sign  her  letters  Mary  Alton 
Clark,  yet  wish  to  be  addressed  as  Mrs.  John 
K.  Clark.  In  such  case  she  writes,  a  space  be- 
low her  signature,  and  near  the  left  margin, 
Please  address  Mrs.  John  K.  Clark.      Confusion 

Very  sincerely  yours, 
Mary  Alton  Clark 
Please  address 

Mrs.  John  K.  Clark 


Leave-taking  and  signature 


LE'rri;i{-\\  iinixc 


05 


arises  also  in  regard  to  tlie  signature  of  an  un- 
married woman.  If  Mary  Alton  is  unmarried, 
she  should,  in  writing  to  a  strang(;r,  follow 
the  rule  just  laid  down  for  married  women, 
writing  below  her  signature  and  to  the  left,  Please 
address  Miss  Mary  Alton. 

The  proper  arrangement  of  the  sufzr serif  tion 
varies  with  the  shape  of  the  envelope.  Note 
the  order  in  which  the  items  are  given:  name, 
street  address,  city,  state.  The  postal  regula- 
tions call  for  a  fourth  item,  the  county.     This  is  a 

Superscription 


Mr.  Henry  K.  Winslow 

234  Spangler  Avenue 
Philadelphia 

Pennsvhania 


reasonable  request,  but  is  often  disregarded,  es- 
pecially in  New  England.  If  used,  it  should  be 
on  a  line  below  the  city  or  town.  Note  that  all 
punctuation  is  omitted  except  the  period  follow- 
ing abbreviations.  Here  are  a  few  hints  in 
regard  to  superscriptions: 


66  ENGLISH  COMPOSITION 

First,  see  that  the  envelope  is  right  side  up 
before  addressing  it.  Second,  place  the  stamp 
where  it  belongs — in  the  right-hand  corner,  not 
upside  down  nor  diagonally.     Third,  write  the 


Miss  Mary  Alton 

234  Slangier  Ave. 
Philadelphia 
Pennsylvania 


address  very  plainly,  giving  the  county  except  in 
cases  where  you  are  positive  that  it  is  unneces- 
sary, and  giving  the  state  without  abbreviation. 


Mr.  John  H.  Williams 

9521  Calumet  Ave. 
Chicago 
Illinois 
Care  of  Mr.  Edward  F.  Jones 


Li':i'ii:i;-wiM'ri\'r,  67 

It  is  never  quite  safe  to  write  merely  i'ltij  or 
Town,  when  sending  in-town  letters,  yet  the 
practice  is  unfortunately  common  in  social  corre- 
spondence. In  writing  to  a  person  who  is  away 
from  his  home — for  example,  staying  with  a 
friend — send  the  letter  Care  of  the  one  with 
whom  he  is  staying.  Fourth,  unless  you  use  the 
regulation  stamped  return  envelope  furnished  by 
the  government,  it  is  safest  for  the  sender  to  write 
his  name  and  address  in  the  upper  left-hand 
corner  of  the  envelope.  Fifth,  write  28  West  56 
Street,  not  No.  28  W.  56th  St.;  Reverend  John 
M.  Clark,  D.D.,  not  Rev.  Dr.  John  M.  Clark;  Dr. 
JohnM.  Jones,  not  John  M.  Jones,  M.D.;  Pro- 
fessor Harold  L.  Lake,  not  Proj.  Harold  L.  Lake, 
M.A.;  John  M.  Geer,  Esq.,  not  Mr.  John  M. 
Geer,  if  Mr.  Geer  is  a  lawyer,  or  prominent  in 
public  affairs;  Mr.  John  M.  Clark,  Principal  of 
Blank  Academy,  not  Prin.  John  M.  Clark.  Place 
Hon.  before  the  names  of  judges,  mayors,  and 
governors. 

No  doubt  many  of  the  details  given  above 
are  familiar  to  most  young  people,  for  we  are 
taught  how  to  write  letters  almost  as  soon  as 
we  know  how  to  read.  But  merchants,  manu- 
facturers, and  business  men  generally,  con- 
stantly complain  that  their  clerks  do  not  know 
some  of  the  simplest  rules  of  letter- writing;  and 


68  EXGLISH  COMPOSITIOX 

it  is  to  be  feared  that  the  same  charge  might  be 
brought  against  those  who  write  social  notes. 
We  are  growing  careless.  It  has  seemed  best, 
therefore,  to  treat  the  subject  with  unusual 
thoroughness.  Here  are  a  few  final  words  of 
caution: 

Use  black  ink,  a  good  pen,  and  white  paper 
of  good  quality,  unruled,  unperfumed.  En- 
velopes and  paper  should  match.  Beware  of 
"Letter  Writers,"  little  volumes  containing 
specimen  compositions  to  meet  every  occasion. 
It  is  better  to  be  one's  self,  even  if  mistakes  do 
occur,  than  blindly  to  follow  a  model.  There 
are,  however,  reliable  works  which  are  well 
worth  consulting.  The  Etiquette  of  Correspond- 
ence by  Helen  Gavit,  Studies  for  Letters  by 
Frances  Callaway,  and  The  Correspondent  by 
James  Wood  Davidson  are  full  of  good  sugges- 
tions. 


EXERCISE  39 
Oral 
Answer  the  following  questions. 

1.  Name  the  seven  parts  of  a  complete  letter.     Under 
what  circumstances  may  some  of  the  parts  be  omitted? 

2.  Wliat   information   is   given   in   the  heading?     In 
what  order  are  the  items  arranged?     What  item  of  the 


LETTER-\VRI1I\(;  69 

heading  should  never  be  omitted?  How  should  the 
heading  be  punctuated?  If  the  address  given  in  the 
heading  is  not  the  one  to  which  the  \^Titer  wishes  a  reply 
sent,  how  does  he  indicate  this? 

3.  "WTiat  Ls  the  proper  place  for  the  address?  How 
should  it  be  punctuated?  Why  in  a  business  letter  is 
it  best  to  place  the  address  before  the  body?  Why  is 
the  address  necessarj*  at  all? 

4.  How  should  the  salutation  be  capitalized  and 
punctuated?  Where  should  it  be  placed?  ^^^lat  is  the 
proper  salutation  for  a  letter  to  an  unmarried  woman? 

5.  TMiere  should  the  body  of  a  letter  begin?  Why 
is  it  advisable  in  answering  a  letter  to  refer  to  it  by  date? 
What  two  objections  can  you  make  to  the  following 
beginning:  As  I  have  nothing  else  to  do.  I  thought  I  would 
write  you  a  letter? 

6.  Give  the  more  common  forms  of  leave-taking. 
How  should  the  leave-taking  be  capitalized  and  punc- 
tuated? 

7.  AMiat  advice  can  you  give  in  regard  to  the  signature 
of  a  letter? 

S.  WTiat  items  of  information  should  appear  in  the 
superscription? 


CHAPTER  VIII 

LETTER-WEITING 

Continued 

Here  are  sixteen  specimen  letters.  Study 
them  carefully.  Try  to  find  in  them  things  which 
are  not  quite  as  you  think  they  should  be. 
There  are  questions  on  a  later  page  which  will 
test  the  thoroughness  with  which  your  work  is 
done. 

1 

158  Corporal  St.,  Hartford,  Conn. 
Oct.  25,  1904 
Ditson,  Spalding,  &  Co. 

21  Bow  St.,  Philadelphia 
Gentlemen : 

Please  send  by  Adams  Express  the  following 
articles : 

1  doz.  Keep  well  tennis  balls.  .  .  .$4.00 

1  Kramer  racket,  16  oz 4 .  00 

1  Kramer  racket,  14  oz 4.00 

1  tennis  net,  "Quality  A" 1.60 

1  marker 75 

You  will  find  enclosed  my  check  for  the  proper  amount. 

Yours  truly, 

William  H.  Burbank 
70 


Li:i'ii:R-\vKriL\G  71 


DiTsoNT,  Spalding,  &  Company 

Dealers  in  Athletic  Goods 

21  Bow  Street,  Philadelphl\,  Penna. 

miiladolphia,  Oct.  26,  1904 
Mr.  William  II.   lUirbank 

15S  Corporal  St..  Hartford,  Conn. 
Dear  Sir: 

Accept  our  thanks  for  your  favor  of  the  25th 
in.st.  containing  an  onhv  for  tennis  goods  and  enclosing 
check  for  fourteen  dollars  thirty-five  cents  (S14.35). 
We  are  sending  the  articles  by  to-day's  express,  charges 
paid.  You  will  find  enclosed  a  receipted  bill. 
Gratefully  yours, 

Ditson,  Spalding,  <fe  Com})any 


123  Garden  Street 

^laplewood,  ^'ermont 
Nov.  3,   1904 
Cairn  &  Company 
29  Mayflower  St. 
Boston,  Mass. 
Gentlemen : 

The  Round  Table,  a  literary  club  of  forty 
seniors  in  Maplewood  High  School,  is  to  take  up  this 
winter  a  study  of  letters  based  upon  the  published 
corresjiondence  of  Longfellow,  Stevenson,  and  one  or 
two  otliei's.  Our  jmrpose  in  planning  such  a  course, 
aside   from   the   enjoyment   coming   from  a   somowhnt 


72  ENGLISH  COMPOSITION 

intimate  acquaintance  with  the  authors  studied,  is  to 
teach  ourselves  something  of  the  art  of  letter-writing. 
It  has  occurred  to  us  that  the  first  requisite  of  a  good 
letter  is  good  stationery.  Your  local  representatives, 
Messrs.  Wood  &  Towles,  suggest  that  perhaps  you  will 
be  willing  to  send  us  a  few  samples  of  what  you  con- 
sider correct  in  quality  and  style. 

Our  club  has  no  treasury;  it  can  therefore  offer  you  no 
compensation,  except  the  comfortable  feeling  that  one 
experiences  when  aiding  a  good  cause.  It  would  be 
known,  however,  that  you  were  the  donors,  and  that  your 
line  of  stationery  is  carried  by  a  local  firm.  Perhaps 
some  of  our  members  would  be  led,  sooner  or  later,  to 
adopt  your  papers.  But  this  is,  of  course,  conjectural. 
If  the  request  seems  unreasonable,  be  assured  that  we 
shall  in  no  way  be  offended. 

Very  truly  yours, 

Alice  Helene  Cowles, 

Secretary 


Cairn  &  Company 

Fine  Paper  Manufacturers 

20  Mayflower  St.,  Boston,  Mass. 

November  5,  1904 
Miss  Alice  Helene  Cowles 

Maplewood,  \^ermont 
My  dear  Miss  Cowles : 

Your  letter  of  the  3d  inst.  is  at 
hand  and  noted.  We  will  make  up  for  you  three  folders 
showing  various  styles  of  high-grade  papers  in  different 
sizes,  and  arranged  in  such  a  way  that  they  can  be 
exhibited  conveniently.     It  will  take  several  days  to 


jMCI  ri:K-\vi;i  riNC  73 

]ircj);trc  tlirsf  foldors;  wc  will,  howcvor,  Mini   tliciti  u.s 
soon  as  possii)l(\ 

Wc  arc  interostcd  in  the  plan  of  your  clul),  mikI  wisli 
you  to  fed  that  we  esteem  it  a  privilege  to  grant  your 
retjucst. 

Yours  very  truly, 

Cairn   it   ('()ni])anv 

5 

111    I'ine  St. 

Decrford,  R.  I. 
Oct.  2,   1004 
Dear  Sir: 

Permit  me  to  thank  you  for  your  letter  pul)- 
lished  in  a  recent  issue  of  the  Morning  Chronicle.  We 
boys  feel  precisely  as  you  do  about  the  matter.  It  does 
seem  as  if  in  a  city  containing  so  many  parks  there  might 
be  found  some  place  where  football  could  be  played. 
We  realize  that  the  game  is  not  one  that  helps  grass  to 
grow,  and  that  spirited  contests  often  attract  noisy 
crowds.  Doubtless  there  are  still  other  drawbacks. 
Yet  it  does  seem  as  if  there  were  good  points  enough  to 
overbalance  the  bad  ones,  and  that  the  game  deserves  a 
public  field.  It  is  therefore  a  great  pleasure  to  have 
you  champion  the  cause. 

You  will  pardon  me,  I  hope,  for  sending  }ou  this  note. 
Your  letter  pleased  me  so  much  that  I  have  allowed 
myself  to  forget  that  you  are  a  stranger,  and  probabl}^ 
too  busy  to  read  a  boy's  letter. 

Respectfullv  yours, 

John  Hartley  Hale 
Mr.  Henry  Clark  Wilson 

38  Schumann  Terrace 


74  ENGLISH  COMPOSITION 

6 

38  Schumann  Terrace 
October  5 
My  dear  young  friend : 

Few  men  are  too  busy  to  read  a 
carefully  written  letter  from  a  schoolboy,  especially  if 
it  contain  a  com})liment.  At  any  rate,  I  have  read  your 
letter  with  interest. 

Just  what  can  be  done  to  bring  about  the  end  we  both 
desire,  I  do  not  at  present  clearly  see;  but  perhaps  some 
way  will  appear  before  long.  It  occurs  to  me  as  I  write 
that  I  might,  temporarily,  help  out  by  letting  the  boys 
use  my  lot,  corner  of  Broad  and  Lincoln  streets.  It  is 
not  perfectly  level,  and  there  is  a  muddy  spot  in  one 
corner  which  would  have  to  be  filled  in.  To  remedy  this 
defect  would  cost  but  little,  however,  and  I  think  I  could 
attend  to  it. 

If  the  plan  pleases  you,  will  you  not  call  at  my  house 
Friday  evening  at  eight  that  we  may  talk  it  over? 

Yours  very  truly, 

Henry  C.  Wilson 


264  Capron  Street 
January  4 
Mrs.  J.  C.  Simpson 

239  May  Street 
Dear  Madam: 

I  learn  through  your  advertisement  in 
to-night's  Times  that  you  desire  a  young  girl  to  read  to 
you  and  to  wTite  letters  from  dictation.  Please  con- 
sider me  an  applicant. 

I  am  sixteen,  a  high  school  senior.     I  am  not  a  trained 


LE'iTKR-WH  rnxr.  75 

reader;  that  is,  I  cannot  read  with  elorutionary  effect. 
Nor  can  I  claim  to  1)(>  unusually  good  in  comj)osition. 
It  seenxs  to  nie,  however,  that  I  should  be  able  to  read 
ordinary  prose  distinctly,  and  write  with  reasonable 
accuracy.  By  permission  I  refer  you  to  Principal  Wilbur 
F.  Howells,  who  may  be  addressed  at  the  high  school. 

I  shall  l)e  pleased  to  call  at  your  home  whenever  it 
may  be  convenient  to  you. 

^'e^y  truly  30urs, 

Adele  M.  Peberdy 

8 
Dear  Ellinwood : 

This  will  introduce  to  you  my  very  good 
friend  John  Hartwell,  who  is  to  be  in  Waveland  for  a 
few  weeks,  ^'ou  will  find  him  a  capital  fellow,  with 
athletic  likings  similar  to  your  own.  I  am  sure  you  will 
take  pleasure  in  doing  what  you  can  to  make  his  stay 
agreeable. 

Your  old-time  college  mate, 

Marshall  Hagar 
34  Edgewood  Place 
Novemlx^r  2-4 

9 
Dear  Miss  White: 

Please  excuse  me  for  being  absent 
yesterday,  and  for  not  being  prepared  to  recite  to-day's 
lessons.  Mother  was  quite  ill,  and  it  became  necessary 
for  me  to  remain  at  home  ancFcare  for  her. 

Yours  very  truly, 

Alfroda  Roeder 
June  third 


76  ENGLISH  COMPOSITION 

10 

Wednesday,  8  a.m. 
Dear  Tom: 

Lunch  at  twelve  to-day.  Come.  Don't 
wear  fine  clothes,  for  the  ponies  need  exercising.  We 
shall  want  to  take  a  long  scamper  out  to  the  Camp  and 
back.  Remember,  I  never  take  "No"  for  an  answer. 
James,  who  bears  this  note,  has  orders  to  seize  you  by 
force  of  arms  if  you  show  the  slightest  sign  of  resistance. 

Yours, 

Pembroke  the  Terrible 

11 

69  Peebles  Court 
My  dear  Miss  Chadwick: 

If  you  have  no  engagement  for 
Wednesday  evening,  October  tenth,  will  you  not  give 
us  pleasure  by  dining  with  us  informally  at  seven? 
,  Very  sincerely  yours, 

Margaret  Harmon 
Saturday,  October  sixth 

12 

2251  Girard  Avenue 
My  dear  Miss  Harmon: 

It  will  be  a  great  pleasure  to 
dine  with  you  Wednesday,  October  tenth.  How  thought- 
ful you  were  to  remember  that  mother's  absence  from, 
home  would  leave  me  alone! 

Very  truly  yours, 

Elizabeth  Chadwick 
IMonday,  October  eighth 


Li':rii:i;-\\  i;i  riNfi  77 


Mr.  atul  Mrs.  Simpson  n'(|Ucst  tlio  ])lf';i,sun'  of  .Mr. 
Wliool(>r's  coinpany  al  dinner  on  \\'('(ln(\s(ia\ ,  June 
twenty-third,  at  seven  o'clock.  To  meet  Mr.  James 
Lurk  in. 

23  Lear  Street,  June  nineteenth 

14 

Mr.  Wheeler  regrets  that  a  previous  engagement  pre- 
vents him  from  accei)ting  Mr.  and  Mrs.  Simpson's  kind 
invitation  to  dine  with  them  Wednesday,  June  twenty- 
third. 

15 

Mr.  Wheeler  accepts  with  pleasure  Mr.  and  Mrs.  Simp- 
son's kind  invitation  to  dine  witii  thom  Wednesday, 
June  twenty-third,  at  seven  o'clock. 

11  Rowc  Avenue,  June  twenty-first 

16 

Simsbury,  Conn. 

October  13,   1904 
Dear  Mother: 

It  seems  an  age  since  you  left  us,  but  I 
suppose  you  have  barely  arrived  and  begun  to  "do"  the 
Fair. 

The  post-cards  came,  and  are  almost  as  pretty  as  the 
German  ones.  We  have  swapped,  because  Fay  liked 
mine  better  than  hers,  and  she  has  taken  her  birthday 
money  to  buy  an  album.  I  have  promised  to  help  her 
put  all  her  cards  into  it  next  Saturday,  if  it   liappens 


78  ENGLISH  COMPOSITION 

to  be  rainy  so  that  we  cannot  go  chestnutting  again. 
Privately,  I  hope  it  will  be  pleasant. 

She  and  I  take  turns  sitting  at  the  head  of  the  table, 
and  you  can  imagine  what  a  morsel  she  looked  last  night, 
sitting  there  so  erect  and  dignified  in  your  great  carved 
chair.  Katy  had  another  accident  with  the  china — 
only  a  common  blue  cup,— and  you  would  have  smiled 
to  hear  her  say  "It  doesn't  matter,"  just  as  kindly  as 
you  would  have  done.  And  she  declined  a  second 
portion  of  pudding  too,  though  it  was  the  kind  she 
ordered  and  was  very  good. 

I  believe  I  promised  to  write  you  about  my  new 
teachers.  I  was  so  unreconciled  to  parting  with  my  dear 
Mr.  Graves,  and  I  even  dared  to  tell  him  so.  But  he 
smiled  at  me  in  his  own  pleasant  way,  and  only  said, 
"You  see.  Miss  Dale,  I  can't  be  with  you  always!"  I 
haven't  had  time  to  "size  up"  the  new  ones  yet,  but 
thus  far  one  of  them  seems  so  stern  and  the  other  so 
lovely  and  expectant  that  I  can't  possibly  slight  either 
lesson,  and  so,  between  the  two  of  them,  I  see  strenuous 
days  ahead. 

Your  loving  eldest, 

Edith 

P.  S.     Fay  sends  love,  and  says  to  write  to  her. 


EXERCISE  40 
Oral 

Answer  the  following  questions. 

1.  In  the   first  specimen   letter,   might   the   heading 
lia\e  been  given  a  different  arrangement?     Why  is  the 


LE'rTER-\\'PvrrTNO  70 

state  not  fi;ivcn  in  the  address?  Is  tlif  <'()iiiina  after 
Spalding  necessary?  What  advantage  is  there  in  placing 
each  item  of  the  order  on  a  separate  line?  Was  it  neces- 
sary to  mention  the  price  of  each  article?  Why  mention 
that  a  check  accompanies  the  letter? 

2.  Was  it  necessary,  in  the  second  letter,  to  repeat  the 
word  Philadelpliia  in  the  heading?  What  is  the  meaning 
of  inst.?  \\'hat  would  the  25th  ult.  mean?  Wliy  do 
Ditson,  Spalding,  ct  Co.  mention  the  recei])t  of  their 
customer's  letter? 

3.  How  does  the  arrangement  of  the  heading  and 
address  in  the  third  letter  differ  from  the  arrangement 
of  the  heading  and  address  in  the  first  two?  What  is  the 
uncontracted  form  of  Messrs.?  AVhy  did  not  the  sec- 
retary of  the  Round  Table  put  Miss  before  her  name? 

4.  Why,  in  the  fifth  letter,  is  the  address  placed  after 
the  body?  Why  in  the  sixth  is  it  omitted?  How  do 
you  account  for  the  difference  betwec^n  the  lea^•e-takings 
in  these  two  letters? 

5.  Account  for  the  incompleteness  of  the  heading  and 
the  address  in  the  seventh  letter?  Where  else  might  the 
heading  have  been  placed?  Had  ]\Irs.  Simpson  been 
unmarried,  what  would  have  been  the  proper  salutation? 
Criticise  this  letter  of  application,  noting  the  good  points 
and  also  anything  which  you  think  might  be  improved. 
What  ought  a  letter  of  application  to  tell?  Wh}^  should 
it,  ordinarily,  be  brief? 

6.  Is  it  polite  to  seal  a  letter  of  introduction?  What 
advantage  is  there  in  WTiting  in  the  lower  left-hand 
corner  of  the  envelope  containing  a  letter  of  introduc- 
tion the  words  Introducing  Mr.  ?     Why,  in  this 

specimen  letter,  is  the  heading  placed  after  the  body 
and  abbreviated  somewhat?    Under  what  circumstances 


80  ENGLISH  COMPOSITION 

should  a  letter  of  introduction  contain  the  complete 
address  of  the  sender?  Why  should  such  a  letter  be 
brief  and  contain  nothing  but  the  introduction? 

7.  Study  carefully  the  invitations  contained  in  letters 
ten,  eleven,  and  thirteen;  then  explain  with  accuracy 
how  and  why  they  differ.  Comment  in  the  same  way 
on  the  replies  to  these  invitations.  Why  do  letters 
thirteen,  fourteen,  and  fifteen  contain  no  signature? 

8.  Important  as  it  is  to  be  careful  about  the  conven- 
tionalities of  letter-writing,  they  are,  after  all,  of  second- 
ary consideration.  What  makes  a  letter  from  a  friend 
delightful?  Why  do  you  read  some  letters  many  times, 
while  others  fail  to  interest  you  at  all?  What,  then,  is 
the  secret  of  good  letter-writing? 


EXERCISE  41 
Written 

Come  to  class  f  re/pared  to  do  the  following  tasks 
at  the  blackboard. 

1.  Write  the  introductor}^  and  concluding  parts — all, 
that  is,  except  the  body — of  letters  to  five  different  firms. 

2.  Write  the  introductory  parts  of  letters  to  the  fol- 
lowing: a  doctor,  a  clergyman,  a  professor,  the  principal 
of  a  school,  and  a  Miss  Mary  L.  Jordon  of  2251  Hecla 
Avenue  in  Chicago. 

3.  Direct  envelopes  to  the  following:  a  business  house 
in  New  York,  a  clergj'man  in  Cleveland,  a  physician 
living  in  a  Maine  village,  the  editor  of  a  newspaper,  a 
cousin  of  your  own  age  who  is  visiting  relatives  in  New 
Orleans,  a  boy  friend   who   is  spending  the  winter  in 


ij';rn:i{-\\  iMi  i.\<.  si 

Kdinhtir^Ii.  u  lawyer  of  your  own  (own,  tho  socrrtary  of 
a  collofic,  the  mayor  of  your  city  or  the  fii-st  solcotman 
of  youi'  town,  your  nuiit  who  is  staying  at  tho  Waldorf 
Astoria  in  New  ^'ork.  two  sisters  whom  you  arc  inviting 
lo  lunch,  Mr.  and  Mis.  J-Jlank  whom  you  arc  inviting  to 
tliimer. 

4.  Write  appro])riate  headings  for  letters  supposed 
to  be  written  to-day  from  the  following  places:  your 
home,  the  school,  the  Auditorium  Hotel  in  Chicago,  the 
steamship  Tethys  in  mid-ocean,  a  \illage  in  Arizona,  a 
camp  in  the  woods. 


CHAPTER  IX 

LETTER-WRITING 

Continued 

EXERCISE  42 

Written 

Write  one  or  more  letters,  according  as  your 
instructor  may  determine,  selecting  from  the  fol- 
lowing group. 

1.  To  a  friend,  congratulating  him  on  having  won  a 
prize  in  a  tennis  tournament.  2.  To  a  school  friend, 
inviting  him  to  dine  with  you  informally.  3.  To  Mr. 
and  Mrs.  Blank,  accepting  an  invitation  to  dine  with 
them  Wednesday.  4.  To  your  postmaster,  asking  him 
to  forward  your  mail  to  a  certain  place  for  a  given  time. 
5.  To  Perry  Mason  Company,  asking  them  to  send  you  the 
Youth's  Companion  for  one  year.  6.  To  the  secretary 
of  Blank  College,  asking  him  to  send  you  a  catalogue  and 
also  specimen  entrance  examination  papers.  7.  To  the 
local  paper,  asking  to  have  inserted  for  three  issues  an 
advertisement  which  you  enclose.  8.  To  a  friend,  in- 
forming him  that  he  has  been  elected  a  member  of  the 
school  debating  club,  and  explaining  to  him  the  nature 
of  the  organization,  the  time  and  place  of  meeting,  etc. 

82 


Lin  TKR-WH I'll X(l  83 

Express  tlu;  hupe  lliul  he  will  at-cept  llif  election.  9.  'Jo 
the  secretary  of  the  debating  club,  answering  the  letter 
called  for  in  the  preceding.  10.  To  your  teacher,  asking 
to  !)(■  excused  from  reciting.  11.  To  your  teacher,  ex- 
plaining your  absence  from  school. 


EXERCISE  43 
Written 
Perform  one  of  the  tasks  called  for  below. 

1.  You  are  contemplating  spending  your  next  long 

vacation  in  .     Write  to  a  friend  who  has  been 

there,  asking  for  information  in  regard  to  such  things  as 
you  wish  to  know  before  making  your  decision.  2.  An- 
swer a  letter  inquiring  about  the  place  in  which  you 
spent  your  last  vacation.     Imagine  that  the  letter  is 

from  a  friend  of  your  own  age.     3.  Your  friend 

is  coming  to  town  with  some  friends  who  wish  to  see 
the  principal  places  of  interest.  He  writes  to  you  for 
advice.  Map  out  for  him  a  forenoon,  or  a  whole  day,  of 
sight-seeing.  Doubtless  the  party  will  get  hungry; 
suggest  where  a  good  dinner  may  be  obtained.  Be  very 
clear  in  all  your  statements.  4.  Reply  to  a  letter  from 
some  one  of  your  own  age  asking  what  to  read.  Do  a 
little  more  than  give  the  titles  of  books,  but  do  not  in- 
terfere with  your  friend's  enjoyment  by  telling  too  much 
about  the  volumes  you  recommend.  5.  Write  a  mid- 
summer letter  to  a  classmate,  asking  him  to  contribute 
an  article  to  the  school  paper.  Explain  that  as  editor 
you  have  found  it  difficult  to  obtain  suitable  material 
for  the  October  number.     Discuss  the  kind  of  article 


84  ENGLISH  COMPOSITION 

you  think  the  readers  would  enjoy,  and  mention  two  or 
three  topics  on  which  you  think  he  could  write  enter- 
tainingly. 6.  Imagine  that  you  are  a  college  graduate. 
Write  to  a  schoolgirl  who  has  consulted  you  in  regard  to 
the  advisability  of  joining  a  debating  club. 


EXERCISE  44 
Written 
Perform  one  of  the  tasks  called  for  helow. 
1.  Answer  one  of  the  following  advertisements: 


Wanted :  A  high  school  boy  who  writes  a  good 
hand  and  can  spell  correctly,  to  do  clerical 
work  afternoons  and  Saturdays.  Apply  by  letter 
to  J.  D.  Flynn,  86  Miles  Building. 


Wanted :  High  school  girl  to  act  as  amanuensis 
afternoons  to  elderly  lady.  Apply  by  letter  to 
Miss  Sarah  Levermore,  99  Cordial  St. 


2.  John  Carrol  advertises  that  he  wishes  to  exchange 
his  canoe  for  a  bicycle.  The  canoe  can  be  seen  at  Dol- 
phin's boat-house,  foot  of  Barnacle  St.  Write  the  ad- 
vertisement and  also  a  letter  in  reply  to  it. 

3.  The  local  paper  has  credited  you  with  a  brilliant 
play  in  football  which  in  reality  was  made  by  some  one 
else.  Write  to  the  editor  suggesting  that  correction  be 
made. 


EXERCISE  45 

Written 

Perform  one  of  the  tasks  called  for  below. 

1.  Charles,  in  his  letter  to  you,  finds  fault  with  Mr. 
Henty'.s  stories.    Reply,  defending  the  author.    2.  Mary, 
with  whom  you  have  attended  school  in  the  city  for  years, 
has  moved  to  a  small  town.     In  a  fit  of  homesickness 
she  writes  a  letter  in  which  she  l^ewails  her  fate  and 
enumerates    the   many   disagreeable   features,   Ijoth    in 
school  and  out,  of  life  in  a  small  town.     You  reply,  trying 
to  cheer  her,  and  attempt  to  show^  that  what  seem  to  be 
disadvantages  may  in  time  prove  blessings.     You  remind 
her  of  some  of  the  disadvantages  of  city  life  which  she 
has  overlooked.     Do  not  simply  give  enumerations,  but 
enlarge  upon  each  argument  till  it  acquires  force.  3.  Write 
to  your  friend  the  park  commissioner,  trying  politely  to 
persuade  him  that  the  parks  should  be  thrown  open 
for  athletic  contests.     Write  his  reply  in  which  he  states, 
with  politeness  equal  to  your  own,  the  reasons  why  your 
request  cannot  be  granted.     4.  Write  to  a  friend  giving 
an  account  of  a  spirited  school  delmtc  to  which  you  have 
recently  listened. 

EXERCISE  46 
Written 

The  tasks  in  this  exercise  call  for  chains  of 
letters.  Select  the  one  which  aj) peals  to  you  most 
strongly. 

1.  While  crossing  the  Atlantic,  you  send  adrift  in  a 
securelv  corked  bottle  a  brief  letter  inviting  the  one  who 


86  ENGLISH   COiMPOSITION 

finds  the  bottle  to  communicate  with  you.  Write  the 
letter  sent  adrift,  the  letter  sent  by  the  finder,  and  your 
reply. 

2.  On  coming  out  of  a  store  you  take  by  mistake  the 
wrong  bicycle.  Discovering  your  error  an  hour  later, 
you  hurry  back  to  find  yovir  own  wheel,  which  you  had 
left  at  the  curb,  gone.  You  advertise.  Give  the  ad- 
vertisement, the  reply  received,  and  your  final  apology. 

3.  Mr. of  ,  a  neighboring  town,  adver- 
tises that  he  has  lost  a  valuable  dog,  a  brief  descrip- 
tion of  which  he  gives.  A  reward  is  offered.  You  have 
found  a  dog  answering  fairly  well  the  description  given; 

so  you  write  to  Mr. ,  asking  him  to  call  or  send 

a  messenger.  But  he  replies  that  his  dog  has  just  re- 
turned; the  dog  found  cannot,  therefore,  be  his.  He 
regrets   that   he   has   caused   you   trouble.     Meanwhile 

your   friend   ,  who   has    recently  removed   to  a 

neighboring  town,  writes  you  a  letter  telling  of  his  first 
impressions  of  his  new  home.  Quite  incidentally  he 
mentions  that  he  has  lost  his  dog,  purchased  soon  before 
his  removal.  He  thinks  that  perhaps  the  dog  may  have 
preferred  old  quarters  to  new,  and  has  therefore  gone 
back  to  them.     You  are  asked  to  be  on  the  lookout. 

You  reply,  telling  of  your  experience  with  Mr. , 

and  expressing  joy  that  at  last  3^ou  have  found  the  right- 
ful owner.  You  are  surprised  that  you  did  not  at  once 
recognize  the  little  fellow.  You  will  ship  the  dog  at  once. 
But  back  comes  a  note  that  the  dog  has  been  received; 
not  the  right  one,  however.  He  asks  what  he  had  better 
do  with  it.  Write  the  advertisement  and  all  the  letters 
called  for  by  the  above  circumstances;  also  write  a  letter 
to  your  invalid  uncle,  telling  him  all  about  your  ex- 
periences and  telling  him  what  finally  became  of  the  dog. 


i.K'ni^R-wiu'rixr,  s7 

4.  "^'nu  write  to  Mr.  A ,  who  owns  a  farm  on 

the  shores  of ,  asking  ])crmission   to  camp  next 

summer  on  his  grounds.  You  describe  the  particular 
spot  you  have  selected,  a  place  you  noted  while  driving 

by,  a  year  or  two  ago.     Mr.  A replies  granting 

your  request,  but  suggesting  that  you  may  prefer  one 
or  two  other  spots,  which  he  describes,  giving  the  ad- 
vantages of  each.  You  write  to  Jack  telling  him  that 
you  are  arranging  a  camping  party  for  the  coming 
summer  and  inviting  him  to  join.  You  give  him  as 
many  particulars  as  you  think  he  should  know,  and  add 
a  little  advice  in  regard  to  what  he  had  better  carry. 
Friend  Jack  replies  accepting  3our  invitation.  He 
asks  for  further  information  on  certain  points. 

5.  You  order  from  a  New  York  firm  dealing  in  camp 
equipment  a  bill  of  goods,  giving  explicit  directions  in  re- 
gard to  prices,  when  and  where  goods  should  be  shipped, 
etc.  The  firm  in  its  reply  states  that  it  has  not  in 
stock  some  of  the  articles  desired,  and  inquires  whether 
it  may  substitute  others. 

6.  Charles  writes  from  camp  a  birch-bark  letter  to 
Henry,  who  has  been  prevented  by  sickness  from  joining 
the  party.  Henry,  on  the  campers'  return,  invites  all  to 
dine  with  him.  Write  his  note  to  Charles,  also  Charles's 
reply.     Clyde  cannot  come.     A\'rite  his  letter  of  regrets. 

EXERCISE  47 

Written 

Perform  one  of  the  tasks  called  for  below. 

1.  Write    to   Mr.   K ,   cabinet-maker,   ordering 

him  to  make  you  a  bookcase,  or  some  other  article. 


88  ENGLISH  COMPOSITION 

Give  accurate  particulars  concerning  materials,  design, 
finish,  etc.  Make  clear,  if  you  wish,  by  means  of  draw- 
ings. 2.  You  are  on  a  journey.  Write  a  letter  home 
telling  about  the  trip.  3.  You  have  been  in  a  railroad 
accident.  To  allay  possible  anxiety,  first  telegraph 
home  that  you  are  safe,  then  write  a  letter  giving  par- 
ticulars. 4.  You  have  witnessed  an  electric-car  accident 
in  which  several  persons  were  injured.  The  electric 
railway's  attorney  writes  asking  you  to  state,  as  accu- 
rately as  you  can,  all  that  you  saw.  Give  his  letter  and 
your  reply.  5.  You  have  moved  recently  into  a  new 
house  and  are  very  enthusiastic  about  it,  though  you 
miss  some  things  you  had  come  to  like  in  the  old  home. 
Write  to  a  friend  about  it,  making  the  description  of  the 
new  home  so  vivid  that  your  friend  will  get  a  correct 
impression.  Be  systematic,  determining  beforehand 
what  order  you  will  adopt  in  your  description.  Pay 
particular  attention  to  your  own  room,  or  to  some  other 
which  particularly  interests  you. 


CHAFrER  X 
STORY-TELLING 

It  is  improbable,  though  by  no  means  impos- 
sible, that  any  one  into  whose  hands  this  book 
may  fall  will  ever  become  a  great  novelist. 
Yet  it  is  doubtless  true  that  many  young 
people — perhaps  it  is  safe  to  say  most  young 
people — have  at  times  a  secret  longing  to  be 
great  story-tellers.  Not  a  few  actually  try  a 
hand  at  it,  only  to  find  that  longing  to  be  a 
second  Dickens  or  a  second  Scott,  and  trying 
to  be  one,  and  actually  becoming  one  are  three 
very  different  things.  Great  story-tellers,  like 
great  poets,  are  born,  not  made. 

It  often  happens,  however,  that  trying  hard 
to  do  some  worthy  thing  which  is  beyond  our 
ability  helps  us  in  many  ways.  Trying  to 
write  a  story,  for  example,  may  not  produce 
a  masterpiece,  but  it  is  pretty  sure  to  increase 
our  respect  for  those  w^ho  have  succeeded 
where  we  have  failed.  It  makes  us  more  sen- 
sitive to  the  beauty  and  strength  of  the  works 

89 


90  ENGLISH  COMPOSITION 

of  Hawthorne  and  Poe  and  the  other  masters. 
We   read   their   stories   with   greater   pleasure. 
Perhaps  this  is  the  main  reason  why  a  little 
practice  in  this  line  is  profitable.     But  there  is 
another,    more   practical   reason.     Back   of   all 
fiction  lies  imagination,  the  ability  to  put  one's 
self    in    another's    place.     When    Mr.    Dickens 
wrote  Great  Expectations,  he  had  to  be  many 
other  people  besides  himself;    he  had  to  be  an 
honest  blacksmith  named  Joe  Gargery,  a  little 
lad  named  Pip,   a  coarse  convict  with  a  vein 
of  gold  in  his  character,  a  steel-hearted  lawyer, 
and  a  score  of  other  people,  shrewdly  imagining 
what    each    would    do    and    say    under    certain 
conditions.     That  is  what  every  novelist  must 
do;    that  is  what  you  try  to  do  when  you  write 
a  tale  for  your   classmates.     And  it  is  some- 
thing very  similar  to  this,  is  it  not,  that  the 
merchant,  the  doctor,  the  teacher,  the  states- 
man has  to  do.     It  is  difficult  for  any  one  to 
succeed  in  a  great  undertaking  unless  he  has 
the  power  to  put  himself  in  another's  place;    it 
is   difficult   for  him  to   succeed   unless   he  has 
imagination. 

Exercising  the  imagination  through  story-tell- 
ing ought,  therefore,  to  be  exceedingly  profit- 
able; it  should  not  be  altogether  disagreeable. 
T'irst  attempts  may  be  somewhat  crude,  though 


s'I()H\-'i"i:llix(;  91 

they  are  seldom  uninteresting.  The  beginner 
often  succeeds  remarkably  well,  turning  out 
little  stories  that  are  well  worth  listening  to; 
and  through  practice  many  things  at  first  very 
diificult  become  easier.  For  example,  there  is 
the  matter  of  finding  a  plot.  We  discover 
sooner  or  later  that  there  are  events  in  our  own 
lives  which,  when  enlarged  upon  and  changed 
a  little — a  story-teller  has  the  right  to  tell 
things  as  they  might  have  happened;  he  need 
not  stick  to  the  truth — make  interesting  little 
comedies  and  tragedies.  We  train  our  eyes 
to  see  stories  lurking  back  of  paragraphs  in  the 
daily  paper.  We  form  the  habit  of  inventing 
stories  to  go  with  our  favorite  pictures,  or  to 
match  a  face  seen  but  for  an  instant  in  the 
crowded  street.  No  matter  where  we  turn,  we 
see,  if  our  eyes  are  properly  trained,  tales  well 
worth  telling. 

An  old  story  tells  that  years  ago,  when  pirates 
infested  the  seas,  a  small  merchantman  laden 
with  dairy  products  w\as  being  pursued  by  an 
ill-looking  craft,  swift  sailing  and  evidently 
well  armed.  Capture  seemed  inevitable,  and 
the  captain  of  the  merchantman  had  made  up 
his  mind  to  surrender.  But  one  of  his  crew 
hit  upon  a  clever  scheme.  Several  tubs  of  but- 
ter were   brought   up   from   t]i(>   hold,    and   the 


92  ENGLISH  COMPOSITION 

sides  and  deck  of  the  ship,  save  for  a  little 
space  about  the  companionway,  were  liberally 
smeared  with  the  contents.  When  the  pirates — 
But  never  mind  the  rest  of  that  story.  Here 
is  a  second. 

Years  ago,  when  robbers  were  a  terror  to 
the  highways  of  England,  a  party  of  gentlemen 
and  ladies  were  traveling  by  coach  to  London. 
As  they  became  better  acquainted,  they  fell  into 
conversation;  and  as  was  quite  natural,  their 
talk  drifted  toward  robberies  and  what  should 
be  done  if  the  coach  were  attacked.  All  were 
more  or  less  nervous,  especially  one  gentleman 
who  confessed  that  he  had  with  him  twenty 
pounds.  A  lady  more  calm  than  the  rest  sug- 
gested that  he  hide  his  money  in  his  boots,  a 
bit  of  advice  which  he  acted  upon  at  once. 

Not  many  minutes  later  the  robbers  actually 
appeared.  The  door  was  throv/n  open,  and  a 
masked  villain  demanded  money.  Thereupon 
the  lady  spoke  up  promptly  and  said,  "  You 
will  find  what  you  want  in  that  gentleman's 
boots."  Off  came  the  boots,  and  away  went 
the  robber,  evidently  satisfied  with  his  find. 
When  asked  to  explain  her  seemingly  unpar- 
donable conduct,  the  lady  declined,  for  the  time 
being,  but  invited  all  the  passengers  to  dine 
with  her  the  following  evening  at  her  London 


ST()in"ri:i.i.!.\(i  03 

home.     After   dinner  she   would    exj)]ain    all    to 
their  complete  satisfaction. 

EXERCISE  48 
Written 

Complete  either  of  these  stones,  adding  details 
supplied  by  your  imagination,  and  introducing 
conversation  wherever  possible.  Perhaps  you  will 
prefer  to  tell  your  story  in  the  first  person,  pre- 
tending that  you  are  the  nervous  gentleman  who 
lost  his  money,  or  the  outwitted  pirate. 

EXERCISE  49 
Written 

Let  each  pupil  bring  to  class  four-fifths  of  a 
short  story.  After  each  has  told  his  fragment  of 
a  tale,  let  the  rest  of  the  class  try  to  invent  an 
appropriate  eliding. 

EXERCISE  50 
Written 

Write  a  short  story  based  upoti  one  of  the  fol- 
lowing: 

1.  Joliii  and  liis  sister  are  standing  in  a  badly  crowded 
street-car.  He  slyly  removes  hci-  purse  from  her 
jacket  pocket,  meaning  to  tease  her  later  on  wIkti  she 


94  ENGLISH  COMPOSITION 

discovers  her  loss.  But  by  mistake  his  hand  goes  into 
the  wrong  pocket — not  his  sister's  at  all.  Discovering 
what  he  has  done,  an  hour  later,  he  tries  to  find  out 
whose  money  he  has  stolen. 

2.  Articles  unclaimed  at  the  custom  house  are  after 
a  while  auctioned  off.  A  bed-quilt  was  bought  by  a  poor 
man  at  an  auction.  After  being  used  for  many  years, 
it  was  ripped  open  and  found  to  contain . 

3.  A  gentleman  returning  from  Canada  by  train 
brought  with  him  a  set  of  furs  for  his  wife.  Thinking  to 
avoid  paying  duty  on  them,  he  persuaded  a  stranger 
sitting  near  him  to  wear  them.  The  ruse  was  successful, 
so  far  as  deceiving  the  customs  officer  was  concerned, 
but  when  he  wished  the  lady  to  return  the  furs,  she 
objected.     How  did  the  incident  end? 

4.  Some  little  boys  were  sailing  a  clockwork  steamer 
on  a  small,  rectangular  reservoir.  Setting  the  rudder  at 
what  seemed  a  proper  angle,  they  launched  the  craft. 
The  boat  took  a  spiral  course  and  finally  "ran  down" 
in  the  middle  of  the  reservoir,  too  far  from  shore  to  be 
rescued  by  the  stone-and-string  method.  The  boat 
leaked;  it  must  be  rescued  ciuickly.  The  boys  could  not 
swim.     How  was  the  steamer  saved? 

5.  An  anarchist  plans  to  blow  up  the  state  capitol. 
He  is  crossing  the  park,  towards  dusk,  carrying  a  satchel 
containing  an  infernal  machine  securely  nailed  up  in  a 
neat  box  and  set  to  explode  in  one  hour.  Suddenly  fear 
or  repentance  seizes  the  anarchist:  he  must  rid  himself 
of  the  satchel,  placing  it  where  no  harm  Avill  be  done. 
He  does  not  understand  infernal  machines.  He  is  very 
nervous,  of  course.     What  does  he  do? 


8T()R\-rKLLING  95 


EXERCISE   51 
Written 

No  doubt  you  have  discovered  by  this  time 
how  difficult  it  is  to  make  characters  talk  in  a 
natural  manner.  Yet  the  life  of  a  story  is 
often  in  its  dialogue.  When  drawing  a  book 
from  the  library,  do  you  never  run  through 
the  volume  hastily  to  see  if  it  contains  a  liberal 
amount  of  conversation?  It  is  excellent  prac- 
tice to  imagine  what  various  people  would  say 
under  given  circumstances. 

Write  a  page  or  tivo  of  conversation  suggested 
by  the  titles  found  below.  Use  synonyms  of  He 
SAID,  to  avoid  inonotony.  Throw  in  little  phrases 
here  and  there  telling  how  the  characters  say  this 
and  that — with  what  facial  expression^  what  ges- 
tures, ivhat  tone  of  voice.  Bring  out  the  per- 
sonality of  the  speakers. 

1.  Mary  helps  l']mily  unpack  her  trunk.  They  talk. 
2.  Overheard  at  the  bargain  counter.  3.  A  recess  time 
chat.  4.  Just  before  the  game,  John  explains  things 
to  his  Aunt  Mary.  Aunt  ^lary  is  from  the  country. 
5.  A  schoolboy  tries  to  persuade  his  fathar  to  buy  him 
a  canoe.  6.  Two  tramps  plan  the  day's  campaign. 
7.  Just  before  the  battle.  8.  A  woman  with  four 
children  and  many  bundles  boards  a  train.  Mary  wants 
a  drink,  Tonnny  asks  questions,  etc.,  etc.     9.  Two  dogs 


96  ENGLISH  COMPOSITION 

discuss  their  master.  10.  The  defeiited  football  cai)taiii 
is  consoled  by  his  mates.  11.  Conversation  between  a 
deaf  lady  and  a  street-car  conductor.  12.  A  play- 
ground quarrel.  13.  A  country  boy  and  a  city  boy 
praise  their  schools.  14,  Tom  Sawyer  and  Little  Lord 
Fauntleroy. 


EXERCISE  52 
Written 

Oftentimes  in  plays,  and  in  story-books  too, 
a  character  is  made  to  talk  to  himself — think 
out  loud.  Talking  to  one's  self  is  called  solilo- 
quy. It'  is  an  ingenious  device,  as  you  can 
easily  see.  But  soliloquy  is  more  difficult  than 
dialogue. 

Imagine  any  one  of  the  following  persons  or 
things  thinking  aloud,  first  telling  in  a  sentence 
or  two  the  circumstances  under  which  the  solilo- 
quy occurs. 

1.  The  waste-basket.  2.  The  school  clock.  3.  A 
football.  4.  A  show-window  model.  5.  A  parrot  at  the 
bird-store.  6.  The  family  cat.  7.  The  striker.  8.  An 
old  lady  knitting.  9.  A  ragged  man  who  cannot  find 
employment.  10.  The  ragpicker.  11.  The  West  Wind. 
12.  An  ink-bottle.  13.  An  old  sailor.  14.  A  broken 
paddle.  15.  A  mirror.  16.  A  cake  of  ice  in  the  re- 
frigerator.    17.  A  worn  doorstep. 


S'i"()in'-ri:f.Li\(i  97 


EXERCISE  53 
Written 

In  the  eighteenth  century  it  was  the  fashion 
to  tell  stories  in  diary  form.  Sometimes  letters 
were  introduced.  High  school  })upils  of  the 
present  day  occasionally  employ  this  device 
with  success,  turning  out  short  stories  that  are 
bright  and  readable.  Perhaps  you  can  do 
what  others  of  your  years  have  done. 

Write  a  few  pages  ynade  up  of  extracts  from  an 
imaginary  diary.  Do  not  try  to  tell  a  story, 
unless  this  comes  easy  to  you,  but  try  to  make  what 
you  write  reveal  character — make  the  reader  ac- 
quainted with  the  one  whose  diary  is  presented. 
Perhaps  the  following  titles  will  prove  suggestive. 

1.  The  diary  of  a  small  boy.  2.  The  confessions  of  a 
schooltrirl.  3.  The  diary  of  a  yellow  doo;.  4.  The  diary 
of  a  soldier.     5.  The  diary  of  an  electric  light. 


EXERCISE  54 
Written 

It  is  a  good  plan  occasionally  to  attempt  a 
short  narrative  of  the  fairy-tale  order,  giving 
the   imagination   full   sweep.     Stop   at   nothing 


98  ENGLISH  COMPOSITION" 

preposterous;    remember  that  in  the  realm  of 
make-believe  all  things  are  possible. 

Write  a  short  story  suggested  by  one  of  the  fol- 
lowing titles. 

1.  The  interior  of  an  iceberg.  2.  The  land  where  lost 
things  go.  3.  Riding  on  the  back  of  the  North  Wind. 
4.  South-east  of  Nowhere.  5.  The  manuscript  found 
in  a  bottle.  6.  Seaweed  Villa.  7.  A  day  in  an  airship. 
8.  The  subterranean  passages  recently  discovered  be- 
neath our  town.  9.  To  the  center  of  the  earth  and  back. 
10.  A  fairy  tale  brought  up  to  date.  11.  Told  by  a  piece 
of  driftwood,     12,  Ink-bottle  imps  and  how  they  live. 


EXERCISE  55 
Written 

Here  is  a  reproduction  of  Herkomer's  The 
Last  Muster.  Who  are  these  aged  men,  and 
for  what  purpose  are  they  assembled?  As  your 
eye  wanders  from  face  to  face,  to  what  central 
figtire  does  it  inevitably  return?  What  is  the 
meaning  of  the  title? 

Perform  one  of  the  following  tasks:  (1)  De- 
scribe the  picture  as  a  whole.  (2)  Describe  in 
detail  one  or  two  figures.  (3)  Invent  a  story 
suggested  by  the  picture. 


Thk  Last  Mustkr 


CHAPTER  XI 
MISCELLANEOUS 

Life  is  full  of  contrasts:  tears  and  laughter, 
wisdom  and  folly,  strength  and  weakness,  suc- 
cess and  failure,  and  so  on  and  on  through  the 
round  of  human  experience.  In  nature  it  is  the 
same.  Darkness  follows  light  and  light  follows 
darkness.  Summer  brings  heat,  winter  snow 
and  ice.  Beneath  the  lofty  mountain  peaks 
which  battle  with  every  wind  that  blows,  lie 
peaceful  green  valleys.  The  ocean  is  now  an 
angry  demon,  now  a  mild,  sleepy  giant. 

Writers  have  a  way  of  using  contrast  to  make 
their  compositions  strong  and  effective.  They 
know  that  white  never  looks  more  pure  than 
when  placed  against  something  black  and  re- 
pulsive; that  the  hero  will  not  seem  really 
heroic  unless  there  is  a  villain  about;  that  the 
happy  ending  will  not  be  appreciated  unless  it 
comes  after  many  chapters  full  of  sorrow  and 
struggle.  All  this  you  have  noticed  many 
times,  for  the  device  is  a  common  one;    but  it 

99 


100  ENGLI8H  COMPOSITION 

may  not  have  occurred  to  you  to  use  it  in 
your  compositions.  Notice  how  effectively  it 
is  employed  in  this  schoolgirl  theme: 

Before  and  After 

April  9. — Oh,  I  am  so  tired  to-day.  I  came  down  to 
breakfast,  and  afterwards  I  must  have  walked  quite 
half  a  mile.  I  suppose  I  ought  to  take  an  egg,  but  some- 
how I  don't  want  one.  No,  I  do  not  know  where  your 
hat  is,  George.  Find  it  yourself.  By  the  bye,  George, 
get  me  that  book  I  was  reading.  I  don't  know  where  it 
is.  Oh,  you  have  plenty  of  time,  for  it  is  only  ten 
minutes  past  one.  After  all,  what  does  it  matter  if 
you  are  a  little  late  to  school?  Everybody  seems  to  be- 
going  to  school.  I  wish  I  were.  I  wish  I  could  even 
go  to  the  grammar  school;  anything  would  be  better 
than  doing  nothing !  The  doctor  is  horrid  not  to  let  me 
go.  If  I  ever  do  go,  I  shall  be  older  than  every  one  else. 
No,  I  do  not  want  an  egg-nog;  a  raw  egg  goes  down 
more  easily.   Well,  I  might  as  well  try  to  finish  this  book. 

November  9. — Mother,  have  you  seen  my  gloves? 
They  are  not  with  my  coat  and  hat.  Oh  yes,  here  they 
are  in  my  muff.  Now  I  can't  find  my  hat-pins.  Never 
mind;  I  have  not  time  to  look  for  them.  Is  breakfast 
never  to  be  ready?  I  am  sure  I  shall  be  late  if  it  is  not 
ready.  Need  I  eat  an  egg?  There  is  not  time  to  eat  an 
egg  and  porridge  too.  Very  well,  I  will.  I  am  afraid  I 
shall  not  know  my  French.  I  only  read  it  over.  Is 
"J'ai  tombe"  correct,  or  is  "  Je  suis  tombe"  ?  Oh  yes, 
of  course;  I  remember  now.  I  can't  eat  any  more,  truly. 
Now  where  are  my  books?     Bother!  I  forgot  to  sharpen 


,"\nS^('ELLAMJ)l  S  101 

thoftc  j»encils.  I  .-hall  have  to  <1<>  it  at  schooh  By  tlic 
bye,  which  sliould  one  say,  "will  1  "  or^siiall  I"  ?  I  am 
sure  that  clock  is  .slow.  It  iiiiist  be  more  tlian  five 
minutes  past  ei^ht.  Won't  it  be  fun  to-day,  for  I  have 
five  recitations  instead  of  three!  I  hope  I  won't  be 
hvte.     Good-])ye.     Clood-byc. 

Probably  you  would  find  it  somewhat  diffi- 
cult to  write  a  composition  similar  to  this 
theme;  for  it  is  what  is  called  a  monologue,  a 
kind  of  writing  which  requires  unusual  ability. 
It  is  not  at  all  difficult,  however,  to  bring  out 
clearly  a  striking  contrast. 


EXERCISE  56 

Written 

Write  a  two-  or  three-paragraph  composition  to 
which  you  can  give  the  title  A  Contrast.  The 
following  may  suggest  material: 

1.  The  football  player  as  he  looks  and  feels  when  going 
to  his  first  game,  and  as  he  looks  and  feels  when  returning. 
2.  The  dwelling  as  it  looked  just  before  the  fire  broke 
out,  and  the  ruins  which  remained  an  hour  later.  3.  The 
small  boy  just  before  and  just  after  Thanksgiving  dinner. 
4.  A  thrifty  farm  and  a  deserted  farm.  5.  The  mill- 
pond,  winter  and  summer.  6.  Going  fishing  and  coming 
home.  7.  A  stuffy  parlor,  and  one  that  isn't  stuffy. 
8.  Tommy's  e^•ery-day  table  manners  and  his  company 


102  ENGLISH  COMPOSITION 

manners.  9.  Ooing  to  school  and  returning  from  school. 
10.  What  the  boy  looking  through  the  window  at  the 
bird-store  thought  of  the  parrot,  and  what  the  parrot 
thought  of  the  boy.  11.  The  good  traits  and  the  bad 
traits  of  my  best  friend.  12.  My  party  gown  before  and 
after  being  caught  by  a  summer  shower.  13.  A  ship 
starting  on  a  long  cruise,  and  the  same  ship  returning  to 
harbor.  14.  The  mountain  side  as  it  looked  before  and 
after  being  swept  by  a  fire.  15.  How  the  victors  felt  and 
how  the  vanquished  felt.  16.  A  story-book  as  it  looked 
when  first  it  came  from  the  store,  and  as  it  looked  years 
afterward.  17.  The  beggar  and  the  proud  banker. 
18.  June  and  November.  19,  Saturday  and  Sunday. 
20.  A  city  street,  6  a.m.  and  6  p.m.  21.  A  country  road 
and  a  city  thoroughfare.  22.  The  skyscraper  and  the 
cobbler's  shop.  23.  The  village  elm  and  the  field  daisy. 
24.  The  poor  man's  parlor  and  the  rich  man's.  25.  A 
meal  in  the  woods  and  an  elaborate  course  dinner.  26. 
The  athletic  field  just  before  and  just  after  a  great 
game.     27.  The  schoolroom,  10  a.m.  and  10  p.m. 


EXERCISE  57 
Written 

Here  is  a  photograph  of  a  wintry  scene  in  the 
country.  Describe  it  as  accurately  and  feelingly 
as  you  can;  then  describe  the  same  scene  as  you 
fancy  it  may  appear  in  midsummer. 


Snow-bound 


Photographed  bv  Eugene  X>,  l-ield 


MISCJJJ.A.NKOUS  103 

EXERCISE  58 
Written 

Opposite  page  104.  is  a  picture  entitled  the  Un- 
traveled  Road.  Describe  the  scene  in  not  more  than 
fifty  words.  Then  describe  a  scene  as  different  from 
this  as  you  can  imagine — a  crowded  city  street 
in  midsummer,  for  example. 


EXERCISE  59 
Oral 

Contrast  calls  for  extremes.  The  two  thiiK^s 
compared,  though  alike  in  some  respects,  must 
be  strikingly  different  in  other  respects.  And 
therein  lies  a  grave  danger;  for  in  our  eager- 
ness to  make  a  contrast  sharp  and  unmistak- 
able, we  are  sometimes  led  to  exaggerate,  to 
picture  things  worse  or  better  than  they  really 
are.  The  first  rule  in  composition  is  Tell  the 
truth.     Honesty  underlies  all  art. 

Exercise  59  involves  comparison,  but  not 
necessarily  sharp  contrast.  It  calls,  however, 
for  an  eye,  a  mind,  which  detects  differences, 
and  no  little  ability  to  point  out  clearly  to 
others  w^hat  the  eye  and  the  mind  have  dis- 
covered. The  task  is  far  more  difficult  than  at 
first  appears. 


104  ENGLISH  COMPOSITION 

Prepare  a  talk,  from  five  to  ten  minutes  long, 
suggested  by  some  tofic  in  the  list  below.  If  you 
can  make  yourself  clearer  by  means  of  rough  illus- 
trations, use  the  blackboard. 

1.  Three  old  coins.  2.  Three  rare  stamps.  3.  Two 
beauties  from  my  collection  of  butterflies.  4.  Two  or 
three  picture  postals.  5.  Easy-chairs  that  I  have  tried. 
6.  Several  kinds  of  mouse-traps.  7.  Three  ways  of 
heating  houses.  8.  Ways  of  lighting  rooms.  9.  Some 
of  the  latest  styles  of  hats.  10.  Various  kinds  of  sum- 
mering places.  11.  Birds'  nests.  12.  Street  enter- 
tainers. 13.  What  I  like  best  in  three  of  my  friends. 
14.  Two  styles  of  automobiles.  15.  The  duties  of 
quarter-back  compared  with  those  of  full-back.  16.  The 
woods  at  different  seasons  of  the  year.  17,  Two  attract- 
ive magazine-covers. 


EXERCISE  6o 
Written 

It  is  by  no  means  easy  to  describe  outward 
appearances — what  the  eye  sees;  but  it  is  far 
more  difficult  to  describe  emotions.  Perhaps  the 
best  thing  about  the  composition  quoted  on  page 
100  is  that  it  tells  us  so  vividly  how  the  girl 
who  wrote  it  felt  on  two  occasions. 

Write  a  short  composition — a  single  fara- 
graj)h  will  do — to  which  you  can  give  the  title 


a 

> 

ci 

a 

w 


MIS(KLLA.\i;orS  \0'> 

How  I  feci.     Use  the  present  tense.     Refer  to  the 
list  below  for  suggestions. 

1.  How  I  fot'l  when  al)()ut  to  get  up  on  a  frosty  mom- 
mp..  2.  Mustering  courage  to  "duck  under"  when  in 
swimming.  3.  When  I  have  not  prepared  my  lesson 
and  expect  to  be  called  on  next.  1.  When  I  am  obliged 
to  work  Saturday  morning  before  I  can  play.  5.  When 
I  am  taking  my  music  lesson.  0.  When  I  am  having 
my  picture  taken.  7.  What  I  think  about  when  waiting 
my  turn  at  the  dentist's.  S.  When  we  ha\e  company 
to  dinner.  9.  When  dinner  is  late  and  I  am  "hungry  as 
a  bear."  10.  When  the  whistle  l)lows  announcing  that 
there  will  be  no  school.  11.  When  I  am  caught  in  a 
shower.  12.  When  I  find,  on  boarding  a  car,  that  I 
have  no  money  with  me.  13.  When  I  am  entertaining  a 
caller  whom  I  do  not  like.  1-4.  When  I  am  trying  to 
get  to  sleep.  15.  When  I  am  trying  to  write  a  com- 
position and  can  think  of  nothing  to  say. 

Not  long  ago  the  members  of  a  first-year  class 
were  invited  to  engage  in  a  friendly  competition 
to  see  who  could  write  the  composition  best 
deserving  the  title  Wet !  The  terms  of  the  com- 
petition were  exceedingly  simple.  The  theme 
might  be  ten  words  long  or  five  hundred.  It 
might  take  the  form  of  a  story,  or  it  might  be 
an  account  of  a  personal  experience,  or  it  might 
be  a  bit  of  description.  The  one  thing  to  be 
kept  in  mind  was  that  the  composition  should 
be  very  wet  indeed  and  give   the   readej   the 


106  ENGLISH  COMPOSITION 

sensations  of  wetness.  The  theme  given  below 
was  selected  by  the  class  as  being  the  best 
handed  in. 

Wet! 

On  a  wet  day  during  the  freshets  the  snow  becomes 
slush,  the  river  rushes  past  bearing  large  himps  of  fast- 
melting  ice,  the  streets  become  veritable  rivers,  and  as 
for  the  people  .  .  .  ! 

There  comes  a  man  carrying  an  umbrella  from  which 
streams  of  water  fall.  He  rushes  madly  by,  as  if  he 
would  get  less  wet  when  running;  but  in  trying  to  avoid 
an  unusually  large  puddle  he  steps  off  the  sidewalk  into 
the  wet  snow,  from  which  he  emerges  minus  a  rubber 
and  wetter  than  before.  As  he  disappears  we  see  half 
a  dozen  girls  crowded  under  one  umbrella,  their  hair 
sticking  in  wisps  to  their  faces,  their  skirts  held  very 
high,  and  their  soaking  "picture  hats"  hanging  limply 
over  their  eyes.  As  they  cross  the  street  (or  canal),  a 
cart  passes  splashing  mud  and  water  over  them,  and  so 
confusing  a  bicycler  that  his  wheel  slips  on  the  slithery 
pavement,  overturning  him  into,  the  flowing  brook  of  a 
gutter.  Now  passes  an  automobile  in  which  sit  creatures 
in  rubber  coats  and  hats  down  which  flow  countless 
rivulets  ending  in  a  large  puddle  in  each  lap.  Here, 
walking  or  rather  plodding  along,  goes  a  man  the  very 
picture  of  wretchedness.  His  trousers  cling  to  him,  his 
once  fine  silk  hat  looks  like  a  private  waterfall,  and  he 
has  in  disgust  at  last  folded  his  umbrella.  By  his  side  is  a 
little  lady  who  looks  as  if  she  had  just  been  drowned,  lead- 
ing a  poor  bedraggled  dog  something  like  a  wash-cloth. 
Still  it  rains,  and  still  it  thaws,  and  still  the  gutters 


mis('i;i.i..\m:()US  io7 

leak;  and  on  tlio  criling.s  come  damp  .si)ots;  and  always 
from  everywhere  comes  a  steady  drip,  drip,  drip. 

This  composition  is  by  no  means  perfect,  but 
in  some  respects  it  is  well  done  We  feel  that 
it  deserves  its  title.  Notice  how  many  wet 
words  there  are  in  it,  the  king  of  them  all  bein<.' 
the  uncommon  term  slithery.  The  street  is  a 
river,  the  gutter  a  brook,  the  silk  hat  a  "private 
w^aterfall,"  the  dog  "  something  like  a  wash- 
cloth"; and  through  it  all  is  the  drip,  drip, 
drip  of  the  ceaseless  rain.  The  reader  cannot 
help  feeling  uncomfortably  moist. 

Such  exercises  are  valuable,  for  they  teach 
us  how  to  make  wliat  we  write  tahe  hold  of  the 
reader.  Too  often  our  compositions  are  pain- 
fully correct  and  cover  a  great  deal  of  ground, 
but  still  do  not  make  the  reader  feel  as  we  want 
him  to  feel.  We  witness  an  accident  so  terrible 
that  the  memory  of  it  haunts  us  day  and  night. 
We  cannot  get  it  out  of  our  minds.  But  when  we 
give  an  account  of  it,  the  reader  does  not  shudder. 
We  have  a  jolly  good  time  out  in  the  woods,  we 
try  to  cook  a  dinner  with  humorous  results,  we 
get  lost;  but  when  we  write  an  account  of  it  all, 
how  tame  and  uninteresting  it  seems!  That  is 
because  we  have  not  learned  to  say  I  will  in- 
terest the  reader.  He  shall  see  things  as  I  have 
seen  them.     I  will  make  him  feel  as  I  have  felt. 


108  ENGLISH  COMPOSITION 


EXERCISE  6 1 

Written 

Write  a  composition,  long  or  short  as  you 
please,  that  will  really  deserve  one  of  the  follow- 
ing titles.     Make  the  composition  take  hold. 

1.  Wet.  2.  Dry.  3.  Hot.  4.  Cold.  5.  Hungry. 
6.  Tired.  7.  Discouraged.  8.  Dusty.  9.  Neat.  10.  Craf- 
ty. 11.  Cruel.  12.  Homesick.  13.  Dark.  14.  Sun- 
shine.    15.  Joy.     16.  Greedy.     17.  Breezy.     18.  Pride. 


EXERCISE  62 

Written 

Doubtless  many  of  us  have  thought  at  times 
how  easy  it  would  be  to  write  interesting  com- 
positions if  only  we  could  go  where  no  one  else 
has  gone  and  bring  back  accounts  of  strange 
things — lands  and  people  whom  no  one  has 
written  about.  The  corner  of  the  world  with 
which  we  are  acquainted  seems  so  common- 
place! Perhaps  we  are  partly  right  in  so  think- 
ing, though  it  should  be  remembered  that  great 
writers  find  a  way  of  making  common  things 
interesting.  At  any  rate,  few  of  us  can  ever 
hope  to  travel  to  strange  lands;    so  why  not  be 


MISCELLANEOUS  100 

content  to  stay  at  home  and  use  our  imaf]jina- 
tion,  makin*jj  liomely  things  seem  of  greater  value 
than  they  really  are? 

Jmdffine  that  you  are  a  (jreat  exj)lorer  sent  out 
by  some  learned  society.  Ik  thorough,  and  bring 
back  a  care f idly  prepared  report.  Here  are  places 
to  investigate. 

1.  The  refrigerator.  2.  'J  lie  ])antry.  3.  The  cellar. 
4.  The  attic.  5.  !My  neighbor's  back  yard.  6.  I^rother's 
den.  7.  The  family  album.  8.  A  neglected  book-shelf. 
9.  A  table  drawer.  10.  A  waste-basket.  11.  A  vacant 
lot.  12.  A  near-by  brook.  13.  An  emj)ty  liouso. 
14.  A  chest  of  old  toys.  15.  A  woodshed.  10.  A  tree. 
17.  A  church  spire.  IS.  A  barn.  19.  A  house-boat. 
20,  The  schoolroom. 

EXERCISE  63 

Written 

The  preceding  exercise  invited  you  to  write 
about  things  so  common  and  homely  that  you 
may  have  thought  the  task  hardly  worth  per- 
forming. But  the  next  exercise  should  com- 
mand your  very  best  effort,  for  it  is  one  which 
for  ages  writers  great  and  small  have  considered 
worth  while. 

Write  a  composition,  somewhat  longer  than 
those  called  for  in  previous  exercises,  describing 
the   doings   of   nature.     Tel!   nothing   which   you 


110  ENGLISH  COMPOSITION 

have    not    yourself    actually    observed.     Use   the 
present  tense.     Here  are  suggestive  topics. 

1.  A  glorious  sunset.  2.  How  day  comes.  3.  An 
ice-storm.  4.  A  thunder-storm.  5.  The  story  of  a 
blizzard.  6.  A  hot  day.  7.  A  spring  freshet.  8.  Watch- 
ing the  clouds.  9.  The  woods  during  a  storm.  10.  A 
bit  of  April  weather.     11.  The  fog.     12.  A  tornado. 

EXERCISE  64 
Written 

Write  a  composition  similar  to  the  preceding 
on  a  topic  chosen  from  the  following  list.  Let  it 
he  a  test  of  your  power  to  observe  accurately.  Use 
the  present  tense. 

1.  Watching  a  spider.  2.  How  school  assembles. 
3.  Watching  the  small  boys  play.  4.  The  approach  of 
a  ship.  5.  Watching  the  sparrows.  6.  Watching  the 
postman.  7.  Waiting  for  the  papers,  8.  The  arrival 
and  departure  of  a  train.  9.  Half  an  hour  from  the  life 
of  my  dog.  10.  A  balky  horse.  11.  A  busy  street 
corner.  12.  At  the  auction.  13.  When  they  clean 
house  next  door. 

EXERCISE  65 
Written 

Write  a  short  story  suggested  by  Geoffroy's  The 
Visit.  Or  if  you  find  story-writing  too  difficult, 
describe  the  picture  as  sympathetically  as  you  can. 


y 


Bv  {•frmi^bioii  oi  llie  (.'■ 


/.    i?-   , 


Thk  \isit 


PART   II 

EXERCISES    IN    SENTENCE-BUILDIXG,    PUNO 
TUATIOX,  SPELLING,  AND  PROOF- 
READING 


CHAPTER  XII 
SENTENCE  ANALYSIS 

Writers  of  poor  English  may  be  divided  into 
three  classes.  To  the  first  belong  those  who 
make  many  mistakes  without  knowing  it,  be- 
cause they  are  so  little  acquainted  with  the 
simple  rules  of  grammar  and  composition.  To 
the  second  belong  the  careless  and  indifferent 
ones  who  might  do  very  much  better  if  they  were 
willing  to  take  pains.  The  third  class  is  made 
up  of  those  who  know  what  is  right  and  what 
is  wrong,  and  are  willing  to  take  pains,  yet  find 
composition  exceedingly  laborious.  Oftentimes 
they  think  clearly  and  seem  to  know  what  they 
wish  to  say,  but  in  transferring  their  thoughts  to 
paper  they  "get  all  tangled  up."  Their  sen- 
tences are  awkward,  sprawling  affairs,  and  all 
attempts  to  remedy  matters  seem  but  to  add 
confusion.  They  have  not  the  faculty  of  writ- 
ing easily,  naturally;  expression  comes  hard  to 
them. 

113 


114  ENGLISH  COMPOSITION 

Part  II  is  made  up  of  exercises  that  have  been 
found  helpful  to  all  three  of  these  classes.  It 
points  out  common  errors  and  tells  how  they 
may  be  corrected.  It  tries  to  arouse  the  care- 
less and  the  indifferent  by  holding  up  a  mirror 
that  they  may  see  how  very  faulty  their  sen- 
tences are,  and  how  difficult  to  understand.  Nor 
are  those  forgotten  who  belong  to  the  third  class. 
Practically  all  the  exercises  are  planned  to  give 
a  kind  of  drill  which  lightens  the  burden  of  com- 
position by  making  correct  expiession  so  much 
a  matter  of  habit  that  the  writer  may  put  nearly 
all  his  thought  upon  what  he  wishes  to  say  and 
not  be  obliged  to  halt  repeatedly  to  consider 
whether  his  language  is  correct. 

EXERCISE  66 

It  is  impossible  to  write  correctly  unless  one 
understands  very  clearly  what  a  sentence  is — 
what  are  its  parts  and  how  these  parts  should 
be  put  together.  Years  ago  we  were  taught 
that  every  sentence  must  have  a  subject,  and 
that  this  may  be  a  noun,  or  some  word  or  group 
of  words  used  like  a  noun.  We  were  taught, 
too,  that  a  simple  subject  may  be  modified  by 
an  adjective,  or  by  a  group  of  words  used  like 
an  adjective.  It  will  do  no  harm,  however,  to 
review  a  little. 


SENTENCr:  ANALYSIS  lir. 

Pick  out  the  simple  subject  of  each  of  the  sen- 
tences below.  Pick  out  the  complete  subject  and 
analyze  it,  telling  whether  each  modifier  is  an  ad- 
jective, a  phrase,  or  a  clause.  How  many  varie- 
ties of  subjects  can  you  fi7id  in  this  exercise  ?  In 
which  of  the  sentences  does  the  subject  come  after 
the  verb  ? 

1.  Daisies  are  in  bloom.  2.  Buttercups  and  daisies 
grow  side  by  side.  3.  Marj^'s  lilies  are  well  cared  for. 
4.  The  flowers  in  the  garden  are  Helen's.  5.  The 
flowers  that  grow  in  the  fields  are  fairest.  G.  Some  of 
the  flowers  faded  quickly.  7.  That  was  too  bad.  8.  Who 
forgot  to  water  them?  9.  Weeding  the  garden  takes 
time.  10.  To  make  roses  grow  requires  patience  and 
skill.  11.  Live  and  let  live  is  a  good  motto.  12.  \ATio- 
ever  w^ould  reap  must  first  sow.  13.  Where  are  the 
reapers?  14.  Daisies,  brightest  of  flowers,  grow  every- 
where.    15.  The   fairest  are   not  always   the   dearest. 

16.  It  is  not  a  difficult  matter    to    grow  geraniums. 

17.  All  they  need  is  fresh  air  and  water.  18.  Give  me 
a  rose,  John.  19.  Are  you  sure  that  you  deserve  one? 
20.  There  are  many  kinds  of  subjects  in  the  sentences 
on  this  page.  21.  It  will  pay  you  to  study  them  with 
care.  22.  Seeing  is  not  always  believing.  23.  The 
grapes  are  sour.     24.  John  is  an  industrious  boy. 

25.  He  who  fights  and  runs  away 
May  live  to  fight  another  day. 


116  ENGLISH  COMPOSITION 

EXERCISE  67 

Every  predicate  must  contain  a  verb.  This 
verb  may  be  modified  by  an  adverb,  or  by  a 
group  of  words  used  like  an  adverb.  It  may  be 
"complemented"  by  a  noun,  a  pronoun,  or  an 
adjective  (called  a  predicate  noun,  a  predicate 
pronoun,  a  predicate  adjective)  which  helps  the 
verb  to  tell  something  about  the  subject.  It 
may  be  complemented  by  a  noun,  a  pronoun,  or 
a  group  of  words  used  like  a  noun,  called  the 
obj  ect. 

Pick  out  the  verb  which  forms  the  simple  predi- 
cate in  each  of  the  sentences  below.  Pick  out  and 
analyze  the  complete  predicate.  Note  in  each 
case  whether  the  modifiers  precede  the  verb  or  fol- 
low it.  In  which  of  the  sentences  does  the  verb 
precede  the  subject  ? 

1.  Birds  fly.  2.  Birds  fly  swiftly  to  their  nests  when 
the  clouds  gather.  3.  Noisily  chirps  the  robin.  4.  Into 
the  garden  he  hops.  5.  When  cherries  are  ripe  he  comes 
to  my  tree.  6.  The  robin  comes  and  the  cherries  go. 
7.  Come  again,  Mr.  Robin.  8.  It  might  have  been  worse. 
9.  You  should  have  come  earlier.  10.  May  we  go  now? 
11.  He  will  never  come.  12.  The  book  is  in  many  re- 
spects a  good  one.  13.  I  wiU,  if  I  can,  come  early. 
14.  How  did  you  do  it?  15.  Lying  in  the  path  was  a 
purse.  16.  He  hastened  to  pick  it  up.  17.  Did  he 
mean  to  steal? 


SENTENCE  ANALYSIS  117 

EXERCISE  68 

The  sentences  below  contain  verbs  that  are  com- 
plemented, either  by  objects,  or  by  predicate  nouns, 
pronouns,  adjectives.  Pick  out  the  verbs  which 
form  the  simple  predicates.  Pick  out  and  analyze 
the  complements  of  these  verbs. 

1.  Henry  plays  football.  2.  He  said,  "I  am  ready." 
3.  I  know  what  you  want.  4.  I  wonder  where  he  is. 
5.  I  will  ask  to  be  excused  at  ten  o'clock.  G.  Who  did 
you  say  he  was?  7.  Whom  shall  we  ask  to  do  it?  8.  Wilt 
thou  my  fate  reveal,  O  wise  man?  9.  I  saw  it  sailing 
through  the  air.  10.  "What  is  wanted?"  he  asked. 
11.  "What,"  said  he,  "do  you  think  of  that?"  12.  Sure- 
ly it  is  John.  13.  Yes,  it  is  he.  14.  Do  you  think  he  is 
well?  15.  He  is  to  be  pitied.  16.  He  enjoys  being 
pitied.  17.  Is  it  he  who  was  injured  in  the  game? 
18.  This  is  the  rat  that  ate  the  malt  that  lay  in  the  house 
that  Jack  built. 

EXERCISE  69 

Pick  out  the  noun  clauses  and  tell  how  each  is 
used,  whether  as  subject,  object,  or  in  some  other 
way. 

1.  What  you  say  is  true.  2.  He  did  what  was  right. 
3.  That  is  what  I  mean.  4.  I  do  not  know  where  he  is. 
5.  He  was  riding  in  what  is  called  the  caboose.  6.  He 
sold  the  dog  for  what  he  could  get.  7.  \\Tiat  we  seek 
is  not  always  what  we  should  have.     8.  The  fact  that 


118  ENGLISH  COMPOSITION 

he  is  poor  should  make  no  difference.  9.  His  last  words 
were  these:  "Don't  give  up  the  ship."  10.  That  he  is 
brave  is  beyond  question.  11.  It  does  not  matter  what 
we  do.  12.  He  will  tell  us  where  we  can  find  them. 
13.  What  he  thinks  of  you  we  know  very  well.  14.  Tell 
me  what  he  said.  15.  "How  are  you?"  he  exclaimed, 
holding  out  a  hand. 

EXERCISE  70 

Pick  out  subordinate  clauses  and  tell  how 
each  is  used,  whether  as  an  adjective  or  as  an 
adverb.     Tell  what  each  clause  modifies. 

1.  The  watch  that  you  gave  me  keeps  accurate  time. 
2.  Go  where  glory  waits.  3.  When  you  have  finished, 
come  to  me.  4.  He  who  strives  does  not  always  suc- 
ceed. 5.  The  reason  why  he  did  it  was  never  known, 
6.  The  time  has  come  when  we  must  part.  7.  I  know 
a  place  where  doffodils  are  in  blossom.  8.  It  happened 
in  the  field  where  we  were  playing.  9.  I  cannot  skate  as 
gracefully  as  you.  10.  Although  it  was  snowing  hard, 
he  went  willingly.  11.  As  my  father  did  before  me, 
so  shall  I  do  now.  12.  Won't  you  have  your  shoes 
shined  while  you  wait? 


CHAPTER  XITI 

SUBSTITUTION  AND  COMBINATION 

It  matters  little  whether  we  write  He  lives  in 
the  house  which  stands  on  the  corner.  He  lives 
in  the  house  on  the  corner,  or  He  lives  in  the 
corner  house.  The  three  statements  are  nearly 
identical  in  meaning.  Yet  in  the  first  the  word 
house  is  modified  by  a  clause  of  five  words,  in 
the  second  by  a  phrase  of  three  words,  in  the 
third  by  a  single  word.  The  skilled  writer  knows 
how  to  gain  force  by  making  his  statements  brief 
and  concise,  how  to  gain  clearness  by  spreading 
out  a  sentence,  how  to  avoid  an  unpleasant  com- 
bination of  sounds  or  escape  monotony  of  structure 
by  shifting  from  clause  to  phrase,  from  phrase  to 
adjective  or  adverb  or  noun.  He  knows  when 
to  combine  several  statements  into  a  single  sen- 
tence; when  to  cut  up  a  long,  intricate  sentence 
into  a  number  of  short,  simple  ones.  This  he 
has  learned  through  practice,  just  as  you  may 
learn  it.     But  it  is  not  an  easy  matter.     Even 

119 


120  ENGLISH  COMPOSITION 

after  years  of  training  the  careful  writer  finds  that 
he  must  spend  no  little  energy,  when  revising 
his  work,  in  changing  sentences  this  way  and 
that  to  make  them  clear,  forceful,  harmonious. 

EXERCISE  71 

In  the  first  group  of  sentences  below,  substitute 
single  words  for  phrases;  in  the  second  group,  sub- 
stitute phrases  for  single  words;  in  the  third  group, 
substitute  simpler  expressions — words  or  phrases — 
for  clauses.  Try  to  determine  in  each  case  whether 
anything  is  gained  by  the  change. 

1.  He  was  a  man  of  courage.  2.  We  acted  with  de- 
liberation. 3.  In  the  morning  the  air  is  sweet  and  pure. 
4.  His  muscles  are  as  strong  as  bands  of  iron.  5.  He 
clung  to  his  purpose  with  tenacity.  6.  The  house  of  Mr. 
Jones  was  struck  by  lightning.  7.  He  has  the  strength 
of  an  ox.  8.  She  wore  a  gown  of  light  blue.  9.  He  turned 
the  leaves  in  a  quiet  manner. 

1.  The  royal  palace  is  well  guarded.  2.  Gradually  he 
crept  nearer  the  sentinel.  3.  Instantly  the  report  of  a 
musket  was  heard.  4.  The  cave's  entrance  was  funnel- 
shape.  5.  He  died  poor.  6.  He  plays  more  skilfully 
than  Harold.  7.  Please  go  home  immediately.  8.  Away 
she  sailed  on  golden  wings.  9.  Her  cheeks  are  rosy. 
10.  The  cane  has  a  golden  head. 

1.  What  we  ate  was  well  cooked.  2.  I  think  I  know 
what  he  intends  to  do.  3.  The  man  who  is  poor  may  not 
be  to  blame  for  his  poverty.  4.  He  is  safest  from  danger 
who  is  on  his  guard.      5.  He  is  guilty  of  a  crime  that  is 


SUBSTITUTION   AND   LO-MIJINATION      121 

punisliablc  by  death.  G.  When  he  returned,  he  bought  the 
store.  7.  licrries  that  grow  by  the  wayside  are  smaHer 
yet  sweeter  than  berries  that  are  grown  in  gardens. 
8.  A  lad  who  seems  to  be  stupid  may  be  a  genius.  9.  Boys 
who  grow  up  in  the  country  are  often  stronger  than  those 
who  live  in  the  city.  10.  Let  those  icho  are  to  speak  come 
to  the  platform.  11.  I  experienced  a  feeling  of  joy  that 
cannot  be  described.  12.  He  was  admired  by  all  who 
lived  in  his  time. 

EXERCISE  72 

Infinitive  and  participle  constructions  are 
often  convenient.  Instead  of  He  came  to  the 
city  that  he  might  see  the  capital  building,  we  may 
write  He  came  to  the  city  to  see  the  capitol  build- 
ing. Instead  of  When  Ms  task  was  completed,  he 
went  out  to  play,  we  may  substitute  Having 
completed  his  task,  he  went  out  to  play.  For 
Girls  who  whistle  do  not  always  meet  bad  ends, 
we  may  substitute  Whistling  girls  do  not  always 
meet  bad  ends. 

Substitute  infinitives  and  participles  wherever 
you  can,  in  the  following  sentences,  noting  in  each 
case  whether  anything  is  gained  by  the  change. 

1.  When  he  had  finished  the  regular  course,  he  de- 
cided to  remain  two  years  more.  2.  She  burst  into  tears 
and  threw  herself  at  his  feet.  3.  Men  who  labor  must 
have  their  recreation.  4.  He  strained  e^•ery  muscle,  for 
he  was  determined  to  win.     5.  If  you  turn  to  the  north, 


122  ENGLISH  COMPOSITION 

you  will  see  a  mountain  which  rises  abruptly  from  the 
plain.  6.  He  hoped  to  find  his  companion,  so  he  turned 
back.  7.  A  tall  pine  crowns  the  bluff  and  seems  to 
guard  the  bay.  8.  The  room  is  a  spacious  one  which 
will  seat  fifty  pupils.  9.  Then  Sweet  made  a  run,  which 
tied  the  score.  10.  The  duke,  who  thought  the  fisher- 
man was  jesting,  agreed  to  give  one  hundred  lashes  for 
the  fish. 

EXERCISE  73 

When  reciting  a  lesson  or  telling  a  story,  the 
temptation  is  strong  to  link  together  assertion 
after  assertion  with  the  conjunction  and,  making 
of  an  extended  narrative  a  single  long,  rambling 
sentence.  We  do  this  largely  through  habit; 
or  is  it  because  and  acts  as  a  kind  of  easy- chair 
for  the  mind,  giving  it  a  little  rest  between  each 
two  statements?  Whatever  the  cause  may  be,  the 
practice  is  a  bad  one.  It  is  better  to  use  short, 
abrupt  sentences  than  to  join  by  and  assertions 
that  are  not  closely  related  or  are  of  unequal 
value.  It  is  better  still  to  learn  to  subordinate 
dependent  statements,  using  simple  and  complex 
sentences  freely,  the  compound  sentence  rarely. 

Subordinate  statements  of  minor  importance  by 
substituting  participial  y  infinitive,  and  appositional 
phrases  for  clauses. 

1.  West  Point  is  a  small  town  in  Orange  County,  New 
York,  and  has  a  population  of  about  one  thousand. 


SUBSTITUTION   AND  COMBINATION      123 

2.  He  walked  up  the  main  street  and  found  all  (he 
stores  closed.  3.  In  the  gymnasium  exhibition,  we 
played  an  important  part  and  covered  ourselves  with 
glory.  4.  Wright  Lorimer  played  the  part  of  David, 
and  he  is  the  author  of  the  play.  5.  We  started  south 
and  made  Goodwin  Park  our  objective  point.  6.  Ellen 
suspected  Red  Murdock,  and  sent  Allan  to  learn  from 
him  his  purpose  in  bringing  Fitz  James  to  the  cave. 
7.  He  sprang  to  his  feet  and  demanded  his  name.  8.  The 
odor  is  faint  and  recalls  that  of  sweet  violets.  9.  We 
pushed  on  and  soon  emerged  into  a  stumpy  field  at  the 
head  of  a  deep  valley.  10.  The  ancients  were  not 
accurate  observers,  and  in  this  respect  they  were  like 
women  and  children.  11.  Of  a  warm  thawy  day  in 
February  the  snow  is  suddenly  covered  with  myriads 
of  snow-fleas,  and  these  look  like  black,  new  powder  just 
spilt  there.  12.  The  wind  began  to  blow  and  the  man 
turned  up  his  coat-collar.  13.  They  disputed  for  a  while 
and  then  the  Wind  saw  a  traveller  passing  by.  14.  It 
was  a  disastrous  fire,  and  the  loss  proved  to  be  over 
twenty  thousand  dollars.  15.  Unceasing  efforts  were 
made  to  relieve  his  pain,  and  at  last  he  was  made  com- 
fortable. 16.  I  looked  down  and  saw  footprints. 
17.  Boswell  was  a  Scotch  law>'er  and  was  a  great  ad- 
mirer of  Samuel  Johnson.  18.  One  hand  is  spread  out, 
and  the  fingers  are  extended,  and  the  palm  is  turned 
down,  in  a  typical  singer's  attitude.  19.  Swift  was  born 
in  Dublin  in  1667,  and  was  the  greatest  satirist  of  his 
day.  20.  The  sunshine-recorder  is  a  recent  addition  to 
the  Weather  Bureau  equipment  and  plays  an  important 
part  in  forecasting.  21.  He  was  completely  discouraged 
and  began  to  cry.  22.  The  sky  had  been  dark  with 
threatening  clouds,  but  now  it  was  everj^vhere  clear. 


124  ENGLISH  COxMPOSITION 

23.  The  birds  were  badly  frightened  and  soon  abandoned 
their  nest. 

EXERCISE  74 

Make  each  sentence  in  the  first  group  either 
simple  or  complex.  Make  each  sentence  in  the 
second  group  simple.  Try  to  give  prominence  to 
statements  which  seem  most  important. 

1.  I  have  a  partner  and  he  is  your  porter  and  he 
should  receive  a  share  of  the  reward.  2.  I  was  sewing 
by  the  window  and  I  happened  to  look  up  from  my  work 
and  there  was  father  coming  in  through  the  gate.  3.  Faith 
is  lost,  honor  dies,  and  the  man  is  dead.  4.  I  went  to  bed 
at  half-past  nine  and  it  was  still  snowing.  5.  The  dishes 
were  washed,  the  kitchen  swept,  and  then  we  went 
berrying.  6.  The  conversation  was  not  very  brisk  for 
a  few  minutes,  but  after  a  while  it  became  animated. 
7.  We  rounded  a  deeply  wooded  point  and  there  before 
us  was  the  town  of  Hamilton.  8.  The  gong  sounded 
nine  times  and  we  all  prepared  for  fire-drill.  9.  He 
turned  to  close  the  door  and  I  noticed  that  his  hand 
trembled.  10.  The  guide  walked  ahead  of  us,  pointed 
out  the  trail,  and  warned  us  against  hidden  dangers. 

1.  Once  upon  a  time  there  was  a  nobleman  who  was 
going  to  marry  a  peasant  girl.  2.  After  again  calling 
Burt,  who  did  not  answer,  we  started  for  liome.  3.  We 
did  not  come  here  that  we  might  annoy  you.  4.  When 
he  saw  how  things  were  going,  he  gave  up  all  hope. 

5.  The  boy,  who  was  an  idle  fellow,  made  little  progress. 

6.  Enfield,  which  is  a  sleepy  little  town,  came  next  into 


SUBSTITUTION   AND   rOMP.TNATION      125 

viow.  7.  A  brook  which  is  near  by  furnishes  cool  water. 
<S.  Th(;  l)ook  is  full  of  stories  which  are  exciting  enough 
for  anyone.  9.  When  the  life-saver  saw  the  lad's  peril, 
he  ran  to  the  rescue.  10.  I  am  just  foolish  enough  so 
that  flattery  pleases  me. 

EXERCISE  75 

Substitute  for  each  group  of  sentences  a  single 
sentence  in  which  are  cotnbined  all  the  assertions 
of  the  group.  Avoid  the  compound  sentence.  Be 
care  fid  to  subordinate  statements  of  tninor  im- 
portance. 

1.  A  nobleman  was  to  marry  a  princess.  His  servants 
were  busy.  They  were  preparing  the  wedding  feast. 
2.  A  stranger  climbed  the  glade.  This  he  did  as  the 
ministrel  finished  his  song.  The  glade  led  to  the  cave. 
The  stranger  was  dressed  in  a  hunting  suit  of  Lincoln 
green.  3.  He  gave  her  a  ring.  This,  he  said,  the  king 
had  given  him  for  saving  his  life.  4.  The  sumac  presents 
in  early  spring  a  mere  fuzzy  knot.  From  this  knot, 
by  and  by,  emerges  a  soft,  furry  kitten's  paw.  John 
Burroughs  writes  this.  The  paw  is  ta'v\Tiy-colored. 
5.  The  skipper  was  an  old  man.  His  face  was  brown 
and  wrinkled.  He  liked  to  spin  yarns.  6.  John  Bright 
became  an  excellent  speaker  and  writer.  This  he  ac- 
complished by  studying  the  best  English  authors.  7.  You 
seem  timid.  This  puzzles  me.  You  will  pardon  me 
for  saying  so.  8.  My  den  is  in  the  attic.  It  is  a  large, 
airy  room.  There  is  little  furniture  in  it.  The  walls  are 
bare.    9.  Two  ladies  stop  before  one  of  the  shop  windows. 


126  ENGLISH  COMPOSITION 

They  appear  to  be  mother  and  daughter.  They  talk 
excitedly  about  the  Christmas  display.  10.  The  Richard 
had  forty  guns.  Six  of  these  were  eigh teen-pounders. 
The  rest  were  twelve-,  nine-  and  six-pounders.  1 1 .  Hep- 
zibah  grew  deadly  white.  She  staggered  toward  Phoebe. 
She  let  her  head  fall  on  the  young  girl's  shoulder.  This 
she  did  no  sooner  than  the  judge  had  disappeared. 
12.  Phoebe  then  threw  down  a  whole  handful  of  pennies. 
The  monkey  picked  them  up.  This  he  did  with  joyless 
eagerness.  He  handed  them  to  the  Italian  for  safe 
keeping.  Immediately  he  recommenced  a  series  of 
pantomimic  petitions  for  more. 

EXERCISE  76 

Combine  each  of  the  following  groups  of  related 
assertions  into  a  single  sentence.  Be  careful  to 
arrange  the  statements  in  proper  order.  Subordinate 
statements  of  minor  importance. 

1.  Harry  has  been  invited.  Mary  has  been  invited. 
Ellen  has  been  invited.  2.  Her  eyes  are  clear.  They 
reveal  her  character.  They  are  gray.  They  are  fear- 
less. 3.  He  hunted  for  the  ring  in  the  house.  He 
hunted  for  it  in  the  garden.  He  searched  for  it  in  the 
street.  The  ring  was  of  great  value.  The  lady  lost  it 
yesterday.  The  search  was  in  vain.  4.  Morning  came. 
John  arose  early.  He  breakfasted  hastily.  He  did  not 
stop  to  light  the  camp  fire.  He  paddled  hastily  across 
the  lake.  He  hoped  to  find  his  companion.  This  com- 
panion he  had  lost  the  day  before.  5.  He  lives  in  a 
cabin.     This  cabin  is  built  of  logs.     It  is  thatched  with 


SUBSTITUTION  AND   ("OMPJNATIOX      127 

licmlock  IjoujThs.  It  .stands  near  a  sprinp;.  It  is  at 
this  spring  that  the  canipors  got  tlioir  water.  He  lives 
alone.  G.  The  man  had  no  covering  for  liis  head.  His 
licad  was  defended  by  his  own  thick  hair.  This  hair  was 
matted  and  twisted  together.  It  was  scorched  by  the 
sun.  It  was  a  rusty  dark  red  in  color.  It  formed  a  con- 
trast with  the  beard  on  his  cheeks.  The  beard  w^as 
overgrown.  It  was  yellow  or  amber  in  color.  7.  'J'he 
house  stands  half-way  down  a  by-street.  The  by-street 
is  in  one  of  our  New  England  towns.  The  house  has 
seven  acutely  peaked  gables.  These  gables  face  toward 
various  points  of  the  compass.  It  has  a  huge,  clustered 
chimney.  It  is  a  rusty,  wooden  house.  8.  The  boys 
had  selected  a  site  for  their  camp.  This  they  had  done 
before  I  had  arrived.  The  site  chosen  was  on  high,  dry 
ground.  It  was  in  a  grove  of  pines.  The  pines  bordered 
a  beautiful  sheet  of  w^ater.  This  sheet  of  water  is  about 
three  miles  in  circumference.  9.  He  seized  upon  Ivan- 
hoe.  This  he  did  with  as  much  ease  as  the  Templar  had 
shown  in  carrving  off  Rebecca.  He  rushed  with  him  to 
the  postern.  He  again  entered  the  castle.  This  he 
did  after  delivering  his  burden  to  the  care  of  two  }-eo- 
men.  He  entered  the  castle  to  assist  in  the  rescue  of 
the  other  prisoners. 

EXERCISE  77 

A  paragraph  made  up  of  short,  jerky  sentences 
is  unpleasant  to  read,  but  is  preferable  to  one  that 
rambles  on  and  on,  conjunctions  and  commas 
taking  the  place  of  periods.  So  exasperating  is 
this  form  of  poor  English  that  many  hard  names 


128  ENGLISH  COMPOSITION 

have  been  given  it.  It  has  been  called  "the  bad 
error,"  "the  child's  error,"  "the  badge  of  igno- 
rance," "the  badge  of  shiftlessness,"  "the  hope- 
less error."  Calling  names  seldom  does  any  good. 
We  had  better  forget  all  these  epithets  and  simply 
bear  in  mind  that  the  habit  of  running  sentences 
together  is  an  exceedingly  unfortunate  one,  very 
hard  to  overcome.  It  can  be  broken  up  only  by 
long,  determined  effort.  In  Exercise  74,  you 
were  asked  to  improve  sentences  containing 
several  statements  by  subordinating  the  less  im- 
portant assertions.  Exercise  77  is  made  up  of 
sentences,  some  of  them  taken  from  school  com- 
positions, some  from  printed  books,  which  contain 
too  much.  Subordinating  one  or  two  statements 
will  not  do;  the  sentences  need  to  be  cut  up  into 
shorter  ones. 

Cut  up  the  following  sentences  into  shorter  ones, 
making  whatever  changes  you  think  necessary. 

1.  The  tower  was  now  blazing  fiercely  and  the  firemen 
seemed  unable  to  cope  with  it,  as  there  were  so  few 
engines  there,  the  rest  being  busy  at  another  fire.  2.  The 
large  tower  clocks  were  destroyed,  and  after  the  fire  was 
out  the  hands  pointed  to  a  few  minutes  after  the  fire 
broke  out.  3.  This  tree  is  thirty  years  old,  the  trunk 
seven  feet  in  circumference,  spreading  out,  when  about 
four  feet  from  the  ground,  into  numerous  and  graceful 
branches;  it  is  nearly  flat  on  top;  the  leaf  is  of  a  dark  and 
glossy  green.     4.  A  little  to  the. eastward  is  the  residence 


SUBRTITUTION   AND   rOMRIXATIOX      129 

of  the  American  Consul;  during  the  RehelHon  he  rendered 
his  government  great  service,  and  his  berth  liere  during 
that  period  was  anything  but  a  bed  of  roses,  for  as  these 
islands  were  a  base  from  whence  the  blockade-runners 
drew  their  supplies,  he  was  regarded  l)y  tliat  fraternity 
and  their  sympathizers  here  in  the  light  of  a  spy  upon 
their  movements.  5.  Strange  talcs  are  told  of  the 
voracity  of  these  finny  monsters — of  unfortunate  dogs 
slipping  in  and  being  devoured,  and  if  the  visitor  should 
come  to  the  place  when  the  gropers  are  hungry,  and  dip 
the  end  of  his  boot  or  his  pocket  handkerchief  among  the 
gaping  throng,  he  will  soon  become  convinced  that  they 
are  a  fearful  lot  of  creatures.  6.  I  started  to  wheel 
round  the  square  and  to  do  so  I  went  down  Court  street 
and  turned  up  Main,  and  just  as  I  turned  the  corner  I 
felt  something  strike  me,  and  it  was  the  shaft  of  an 
express  wagon.  7.  There  are  many  private  gardens  in 
the  vicinity  of  Hamilton  that  are  exquisitely  laid  out 
and  kept  in  perfect  order,  some  of  them  contain  mag- 
nificent specimens  of  the  India-rubber  tree,  one  ver}-- 
near  the  Hamilton  House  can  be  seen  that  was  sent  here 
thirty-five  years  ago  from  Essequebo;  it  is  now  grown 
to  be  an  enormous  tree,  the  trunk  twelve  feet  in  circum- 
ference, running  up  three  or  four  feet  from  the  ground, 
and  covering  with  its  dense  shade  space  all  around  of  at 
least  seventy  feet.  8.  A  good  way  is  to  put  the  coffee 
in  a  small  muslin  bag,  tied  loosely,  then  boil  it  five 
minutes,  and  your  grounds  can  be  removed  before  ser\-ing. 
9.  I  like  all  out-door  games,  but  tennis  is  best  of  all,  it  not 
only  affords  good  exercLse  but  is  exciting.  10.  Half-way 
down  the  side  street  stands  a  seven-gabled  structure,  this 
is  the  Pyncheon  house.  11.  Then  two  young  girls  came 
and  glanced  at  the  window;  and  one  cried,  "Oh!  aren't 


130  ENGLISH  COMPOSITION 

those  pins  just  lovely,  one  of  them  would  look  too  sweet 
on  my  dress,  it's  just  the  dearest  thing  I  ever  saw." 
12.  I  was  beginning  to  get  impatient  when  I  saw  two  old 
gentlemen,  one  was  very  short  and  stout,  the  other  tall 
and  thin,  wearing  a  black  suit  and  a  high  hat.  13.  The 
Sun  then  began  the  contest,  he  darted  hot  rays  at  the 
traveller's  head.  14.  I  hear  that  it  is  good  skating,  out 
at  the  lake,  crowds  are  going  out  there  on  the  electrics. 
15.  Sirens  are  great  horn-like  affairs  blown  by  com- 
pressed air,  sounds  from  a  siren  have  been  heard  at  a 
distance  of  twenty-five  miles.  16.  Then  the  wind  blew 
as  hard  as  it  could,  the  harder  it  blew  the  tighter  the 
man  drew  his  cloak  about  him.  17.  The  last  thing  at 
night  take  a  few  handfuls  of  clean,  dry  pebbles,  heat  them 
in  the  frying-pan  until  very  hot,  place  them  in  the  wet 
boots,  they  will  dry  them  out  thoroughly  in  a  few  hours, 
shake  once  in  a  while.  18.  I  am  sure  you  will  like  our 
city,  it  is  very  pretty  and  contains  many  parks,  the  most 
central  is  Bushnell  park  where  the  fountain  is,  this  park 
is  overlooked  by  the  Capitol.  19.  There  are  many 
places  of  interest  here,  perhaps  the  one  that  you  will 
like  best  is  the  art  museum.  20.  We  have  our  camp 
in  a  grove,  in  front  is  a  lake  a  mile  long.  21.  The  ride 
to  Rainbow  is  beautiful,  all  along  the  route  the  fields  are 
white  with  daisies.  22.  As  we  were  walking  up  the  street 
we  met  Tom,  and  he  suggested  that  we  go  down  to  the 
river  and  see  the  boat  come  in,  so  down  we  went  and 
arrived  just  in  time  to  see  her  come  up  to  the  wharf,  and 
much  to  our  surprise  we  found  Uncle  Harry  there,  he 
was  down  there  waiting  for  a  friend.  23.  Passing  up 
the  side  street  we  came  to  the  main  thoroughfare,  and 
there  we  saw  many  stores,  and  I  suggested  to  my  friend 
that  we  do  a  little  shopping,  for  I  needed  several  things, 


SUBRTITT'TTOX   AND  rOMP.TNATTOX      131 

and  she  af2;roocl  that  this  was  a  good  plan,  so  we  entered 
one  of  the  largest  establishments. 


EXERCISE  78 

Inability  to  see  where  sentences  end  leads  to 
a  second  error,  the  opposite  of  that  noted  in  the 
preceding  exercise.  A  clause  or  a  phrase  which 
comes  at  the  end  of  a  sentence  is  treated  as  if  it 
were  an  independent  assertion.  Appositional 
phrases,  explanatory  participial  phrases  begin- 
ning with  a  pronoun,  relative  clauses  beginning 
with  who  or  which,  and  clauses  beginning  with 
while  or  since  used  as  a  conjunction,  are  especially 
troublesome. 

Correct  the  foUoiving.  Name  each  amputated 
part,  telling  whether  it  is  a  phrase  or  a  clause,  and 
show  clearly  that  it  belongs  to  the  rest  of  the  sen- 
tence and  cannot  stand  alone. 

1.  The  mountains,  to  be  sure,  are  grand  to  look  at, 
but  one  tires  of  their  monotony.  While  the  ocean,  ever 
changing,  is  always  fascinating.  2.  No  doubt  this  state- 
ment is  quite  true.  Since  few  wealthy  boys  care  enough 
about  sports  to  engage  in  them  enthusiastically.  3.  Seed 
covered  with  too  much  earth  may  never  sprout,  or  if 
they  do  sprout,  the  little  shoots  will  never  reach  the 
surface.  Especially  flower  seeds,  which  should  be 
planted  very  near  the  surface.  1.  The  story  had  to  be 
told  to  Mrs.  Richards.     How  they  had  all  three  spoken 


132  ENGLISH  COMPOSITION 

of  the  skating.  How  each  had  made  up  his  mind  to  go 
without  letting  the  others  know  about  it.  How  they  had 
all  met  unexpectedly  while  on  the  pond,  5.  The  porter 
was  given  a  beating  and  then  discharged.  While  the  fish- 
erman received  a  good  reward.  6.  In  order  to  form  a 
just  conclusion  two  topics  must  be  considered.  First, 
whether  the  prisoner  committed  the  crime.  Second, 
whether  he  is  of  sound  mind.  7.  The  skating  on  the 
pond  is  seldom  good.  The  reason  being  that,  as  the 
water  is  drawn  off  by  the  mills,  the  ice  breaks  away  from 
the  banks.  8.  Some  of  Pope's  poetry  is  shallow,  treating 
serious  matters  with  levity.  While  that  of  Tennyson  is 
more  serious.  9.  I  cannot  begin  to  tell  all  the  fun  we 
had.  The  picnics,  the  fishing  parties,  the  straw  rides. 
10.  Wamba  furnishes  fun  by  his  wdt,  the  Friar  by  his 
remarks.  While  Athelstane  amuses  by  his  actions. 
Isaac  a  target  for  the  wit  of  others.  11.  I  think  Scott 
introduces  this  incident  for  two  reasons.  First,  to  give 
Fitz  James  good  cause  for  hating  Roderick;  second,  to 
show  which  side,  according  to  Brian's  prophecy,  is  going 
to  win.  12.  Then  it  was  tear,  tug,  tussle.  Neither  side 
having  the  advantage.  13.  There  are  two  good  hotels. 
One  at  the  north  end  and  one  at  the  south.  14.  On  a 
bare  table  the  Friar  set  pulse  and  water  for  the  Knight. 
Who,  noticing  the  hermit's  healthy  appearance,  de- 
clined to  believe  that  the  fare  offered  him  was  the  best 
the  larder  afforded.  15.  The  train,  contrary  to  custom, 
slowed  up  at  the  cross-road  and  finally  stopped.  Which 
was  just  what  we  wished.  16.  Donald  was  chosen 
captain.     He  being  the  oldest  boy  in  the  party. 


SUBSriTUTlON   AND  COMBINATION      133 


EXERCISE  79 

When  reading  a  story,  we  very  much  prefer  to 
find  given  the  exact  words  of  the  characters 
rather  than  a  mere  general  report  of  what  has 
been  said.  That  is  to  say,  we  prefer  direct  dis- 
course to  indirect  discourse.  Yet  when  we  are 
asked  to  tell  a  story,  we  seem  afraid  to  use 
quotation-marks,  afraid  to  introduce  a  little  con- 
versation now  and  then.  Perhaps  that  is  why 
we  fail  to  be  interesting. 

Change  the  following  from  indirect  to  direct 
discourse. 

1.  He  asked  the  lad  his  name,  and  the  boy  replied 
that  his  name  was  Miltiades  but  that  he  was  called  Ti  for 
short.  2.  Phoebe  asked  her  cousin  Hepzibah  if  she  had 
just  spoken  to  her,  and  Hepzibah  repUed  that  she  had  not. 

3.  Astonished  at  the  sight  of  a  strange  soldier  descending^ 
steed  in  hand,  from  that  solitary  mountain,  the  corporal 
stepped  forth  and  challenged  him.  He  asked  w^ho  went 
there.  The  soldier  replied  that  it  was  a  friend.  Then  the 
corporal  asked  who  and  what  he  was.  Thereupon  he  was 
answered  that  he  was  a  poor  soldier  just  from  the  wars, 
with  a  cracked  crown  and  an  empty  purse  for  reward. 

4.  When  the  girl  was  alone,  the  manikin  came  again 
for  the  third  time,  and  asked  her  what  she  would  give 
him  if  he  would  spin  the  straw  for  her  this  time  also. 
The  girl  answered  that  she  had  nothing  left  that  she  could 
give.    He  then  asked  her  to  promise  that  if  she  should 


134  ENGLISH  COMPOSITION 

become  queen  she  would  give  him  her  first  child. 
5.  Johnny  asked  the  teacher,  as  he  came  into  the  primary 
room  one  morning  in  June,  what  the  flag  was  upon  the 
school  building  for  that  day.  The  teacher  thought  for  a 
moment  and  then  answered  that  really  she  could  not 
remember.  She  said  that  he  might  go  to  the  principal's 
room  and  look  at  the  card  and  then  come  back  and  tell 
her  and  the  pupils.  Johnny  dashed  off  and  a  few 
moments  later  returned,  looking  important.  The  teacher, 
thereupon,  asked  Johnny  to  tell  what  the  flag  was  up  for. 
Johnny  replied  promptly  that  it  was  to  celebrate  some- 
body's wedding.  The  teacher  repeated  Johnny's  words 
slowly,  then  said  that  that  could  not  be,  for  there  was  no 
flag-day  which  celebrated  a  wedding.  Johnny  main- 
tained stoutly  that  it  had  something  to  do  with  a  wedding, 
for  the  card  said  so.  The  teacher  was  not  convinced, 
and  leaving  the  room  she  went  to  make  a  personal  in- 
vestigation. Under  the  date  of  the  day  in  question  she 
found  that  it  was  the  engagement  of  the  Monitor  and 
the  Merrimac. 

EXERCISE  80 

Nearly  all  the  words  and  phrases  in  common 
use  have  many  equivalents.  The  word  beautiful, 
for  example,  has  at  least  fifteen  synonyms. 
There  seems,  then,  to  be  little  excuse  for  un- 
pleasant repetitions.  Yet  unless  we  watch  our- 
selves closely  we  often  use  the  same  word  over 
and  over  again.  The  best  way  to  discover  errors 
of  this  sort  is  to  read  aloud  what  we  write.  The 
ear  is  a  nicer  critic  than  the  eye. 


SUBSTITUTION   A.NJ)   (O.Mlil NATION       135 

Reconstruct  the  joU owing  sentences,  avoiding 
unpleasant  repetition. 

1.  At  first  it  only  sprinkled  and  we  thought  it  was 
only  a  passing  shower.  2.  Ice  could  be  seen  on  most 
store  windows  so  that  very  Uttlc  could  be  seen  of  what 
was  within.  3.  The  wind  grew  colder  and  colder;  but 
the  man  would  not  take  off  his  coat  but  pulled  it  closer 
about  him.  4.  As  the  sun  grew  still  warmer,  he  took  off 
the  rest  of  his  clothes  and  bathed  in  a  brook  to  cool  off. 
5.  The  day  was  spent  very  quietly,  but  we  decided  it 
had  been  a  very  pleasant  clay.  6.  There  are  drawbacks 
to  all  attempts  to  earn  money  to  pay  for  a  person's 
education;  for  example,  a  person  is  often  tempted  to 
attempt  too  much.  ^  7.  Pushing  other  things  aside,  I 
came  to  an  old  chest  standing  grim  and  silent,  and 
thickly  covered  with  dust.  A  moment's  thought  told 
me  that  it  was  the  old  chest  containing  the  toys  of  my 
childhood  days.  8.  The  sun  is  sinking,  and  there  is 
a  glorious  flood  of  pink  light  flooding  the  distant  moun- 
tains. 9.  The  robins  would  run  a  little  way,  then  stop 
and  pick  up  something,  then  raise  their  heads  and  look 
about  quickly  as  though  looking  to  see  if  there  was  any- 
thing to  harm  them.  10.  The  first  thing  I  noticed  as  I 
sat  down  before  the  window  to  take  down  notes  was  the 
red  sky  in  the  northeast.  It  was  a  very  dark  red  near 
the  horizon,  but  grew  into  the  blue  after  reaching  far 
up.  11.  There  is  a  large  ])ond  here,  bordered  with 
bushes.  We  walked  around  the  pond  and  up  the  hill 
on  the  west  side  of  the  pond.  12.  One  by  one  the  girls 
walked  away.  One  could  see  them  strolling  about. 
13.  He  fished  with  a  long  bamboo  pole  at  least  ten  feet 
long.     14.  Addison  soon  became  interested  in  this  field 


136  ENGLISH  COMPOSITION 

of  work  and  soon  drifted  from  politics  to  literature. 
15.  Now  he  has  broken  off  a  stick  for  Mary;  so  off  they 
scamper.  16.  He  attended  school  at  the  Hillhouse 
school.  17.  This  little  girl  wore  dresses  called  French 
dresses.  The  dresses  were  very  short  and  very  becoming. 
18.  After  talking  about  the  boat  with  a  man  who  had 
long  made  a  business  of  making  boats,  we  decided  to 
make  our  boat  of  cedar  wood.  19.  After  my  long  tramp, 
I  felt  very  tired;  so  I  retired  early.  20.  It  is  very  warm 
here  in  the  summer  time ;  but  you  will  not  mind  that,  as 
that  is  the  time  that  people  go  away  to  the  shore  or  to 
the  mountains. 


CHAPTER   XIV 
UNITY 

Several  of  the  exercises  in  the  preceding  chap- 
ter are  designed  to  show  that  too  much  should 
not  be  crowded  into  one  sentence;  that  when 
several  statements  are  combined,  they  should  be 
closely  related  in  thought;  and  that  when  several 
statements  are  so  combined,  the  most  important 
one  should  be  made  a  principal  clause,-  the  less 
important  ones  being  subordinated — kept  in  the 
background.  In  other  words,  every  sentence 
should  have  unity  of  subject-matter. 

There  is  another  kind  of  unity  which  is  quite 
as  important.  Take  for  example  the  sentence 
As  one  stands  on  the  wharf  you  can  see  great 
ships  riding  at  anchor.  Here  there  is  an  unfor- 
tunate change  from  the  third  person  to  the  second. 
Note  also  the  sentence  When  any  one  who  de- 
served protection  passed  through  the  woods, 
Jupiter  sends  a  spirit  to  guard  him.  Here  there 
is  a  change  from  past  tense  to  present.  Errors 
of  this  sort,  for  the  most  part  due  to  careless- 

137 


138  ENGLISH  COMPOSITION 

ness,  seldom  make  sentences  wholly  unintelligible; 
but  they  produce  a  disagreeable  blur  similar  to 
that  caused  in  a  picture  when  the  object  photo- 
graphed has  moved  slightly  at  the  critical 
moment. 

EXERCISE  8 1 

Make  the  corrections  necessary  to  bring  about 
unity  in  person,  number,  and  gender. 

1.  Every  one  took  off  their  hats  and  gave  a  rousing 
cheer.  2.  The  trout,  who  by  this  time  was  exhausted, 
allowed  itself  to  be  lifted  into  the  boat.  3.  Our  Climax 
tooth-brush  takes  the  lead.  Try  them.  4.  All  is  still 
and  dark,  and  one  feels  as  if  they  would  never  see  daylight 
again.  5.  Your  reporter,  being  confined  to  his  house, 
could  not  be  present,  but  was  thankful  to  be  able  to 
enjoy  the  nice  supper  sent  me.  6.  Everybody  has  more 
or  less  goodness  in  their  nature.  7.  Pretty  soon  I  saw 
a  red  squirrel  run  up  a  tree.  They  are  small,  but  better 
than  nothing;  so  I  fired.  8.  He  possessed  the  Puritan's 
love  for  God,  and  their  strict  ideas  in  regard  to  conduct. 

9.  He  said  the  malady  w^as  one  that  her  husband  was 
subject  to,  but  that  they  lasted  only  a  few  minutes. 

10.  We  were  given  our  station  billets.  This  was  a  slip 
of  paper  on  which  is  written  the  number  that  you  are 
to  take.  11.  Those  who  drank  of  the  liquor,  she  touched 
with  her  magic   wand  and   changed  him  into  a  beast. 

12.  Has    the    other   side   stated    all    their   arguments? 

13.  Theoretically  the  committee  has  unlimited  power, 
but  in  reality  they  can  do  little.     14.  The  proud  yacht, 


UNITY  139 

every  inch  of  her  canvas  spread,  raced  ahead,  the  fouiu 
curving  gracefully  from  its  bows.  15.  Evidently  its 
wing  was  not  broken;  but  the  mother  bird  pretended  that 
it  was,  and  fluttered  about  as  if  helpless.  This  she  did 
to  draw  the  attention  of  the  hunter  away  from  her  little 
ones,  which  were  sccurrying  away  through  the  long  grass. 
16.  The  crowd  which  is  now  entering  the  park  are  high 
schoolboys.  17.  Every  one  tried  their  best.  18.  Frank- 
lin's invention  of  the  lightning-rod  was  a  great  triumph, 
but  since  his  day  they  have  been  greatly  improved. 
19.  I  have  been  told  that  in  Japan  every  soldier,  sailor, 
and  policeman  have  been  taught,  as  a  matter  of  course, 
the  science  of  jiu-jitsu.  20.  The  Indian  club  is  shaped 
like  a  wine  bottle,  and  formerly  was  weighted  at  the 
large  end;  but  now  they  are  made  light,  to  develop 
quickness  rather  than  strength.  21.  When  a  "plebe" 
or  freshman  at  West  Point  has  finished  his  course, 
they  are  called  "yearlings."  22.  The  breeze  seems  to 
wake  one  up  and  put  new  life  into  you.  23.  When  one 
has  a  vacation,  their  first  thought  is  to  go  away  some- 
where. 24.  The  following  polite  note  accompanies  one 
of  Du  Maurier's  drawings:  Mr.  Smith  presents  his  com- 
pliments to  Mr.  Jones,  and  finds  he  has  a  cap  which  isn't 
mine.  So  if  you  have  a  cap  which  isn't  his,  no  doubt 
they  are  the  ones. 

EXERCISE  82 

Change  the  following  sentences  in  such  a  way  as 
to  bring  about  unity  in  tense  and  mode. 

1.  Be  honest,  but  3^ou  should  be  shrew^d  too.     2.  I 
intended   to  have  gone  long  ago.      3.  No  one  would 


140  ENGLISH  COMPOSITION 

invest  his  money  in  an  invention  unless  he  thinks  it 
a  useful  one.  4.  No  sooner  had  we  landed  and  began 
to  look  about  than  we  discovered  their  tracks.  5.  Pretty 
soon  the  bakery  cart  came  along.  As  it  approaches  the 
cornfield,  the  baker  cries  out  to  the  scarecrow,  "Good 
morning,  farmer  Jones."  6.  His  boyhood  was  un- 
eventful, very  different  from  his  later  life,  in  which  are 
so  many  unusual  happenings.  7.  You  said  in  your  last 
letter  that  you  are  coming  to  town,  but  I  do  not 
think  you  came.  8.  I  think  the  passage  means  that 
Milton  will  stay  up  in  the  tower  till  the  stars  died  away 
in  the  morning.  9.  Those  who  drank  of  the  liquor 
she  touches  with  her  magic  wand.  10.  As  they  drew 
near,  John  says  laughingly  to  Pete,  "Well,  you  are  a 
good  one."  11.  I  should  greatly  appreciate  the  favor 
if  you  will  call  at  my  office  to-morrow. 


EXERCISE  83 

And  and  but  are  coordinate  conjunctions. 
They  should  therefore  join  sentence  elements 
of  the  same  kind.  Among  young  writers,  how- 
ever, there  is  a  tendency  to  use  these  conjunctions 
to  join  relative  clauses  to  plirases  or  single  words. 
There  are  several  ways  of  remedying  the  evil. 
Sometimes  the  conjunction  may  be  omitted,  but 
often  it  is  better  to  make  the  elements  joined 
alike.  Occasionally  it  is  necessary  to  cut  a 
troublesome  sentence  in  two. 


UNITY  141 

Reconstruct  the  following  sentences  in  such  a 
way  as  to  bring  about  unity. 

1.  I  was  writing  to  a  friend  niucli  cl(;vercr  than  I,  and 
who  would  be  sure  to  notice  every  little  mistake.  2.  I'i- 
nally  we  came  to  the  Connecticut  River,  a  much  wider 
stream  than  the  Farmington,  and  which  therefore  is 
crossed  by  fewer  bridges.  3.  The  first  customer  was  a 
little  fellow  with  a  ruddy  face,  and  who  wanted  a  ginger- 
bread camel.  4.  Leading  from  this  busy  thoroughfare 
is  a  quiet  court  lined  with  modest  dwellings,  and  which 
goes  by  the  name  of  Edgewood  Place.  5.  The  rug, 
soiled  though  it  was  and  moth-eaten,  and  which  was  all 
but  worn  out,  was  treasured  as  if  priceless.  6.  We  are 
glad  to  have  with  us  this  evening  Colonel  Humpty,  the 
well-known  orator,  and  who  will  now  address  us.  7.  New 
Haven,  the  largest  city  in  the  state,  and  which  is  the 
home  of  Yale  College,  was  the  next  place  visited.  8.  It 
is  a  beautiful  lake,  high  up  among  the  hills,  but  which  is 
seldom  visited  except  by  local  fishermen.  0.  It  is  an 
exceedingly  interesting  book,  full  of  advice  helpful  to 
campers,  but  which  contains  many  grammatical  ab- 
surdities. 10.  This  proves  the  milk  is  pure,  and  not 
having  undergone  a  change  before  or  during  the  process. 

EXERCISE  84 

The  participle  is  a  verbal  adjective,  the  in- 
finitive a  verbal  noun.  Neither  one  is  a  verb; 
yet  often  the  infinitive,  and  sometimes  the  par- 
ticiple, is  wrongly  used  as  if  it  were  the  verb's 
equal.     In  the  first  sentence  below,  for  example, 


142  ENGLISH  COMPOSITION 

the  participle  realizing  is  paired  of!  with  the 
finite  verb  saw.  Such  a  change  in  construction 
is  undesirable.  Infinitives,  moreover,  have  two 
forms,  one  with  the  preposition  to,  and  one  ending 
in  -ing.  Each  has  its  use,  and  often  one  can  be 
substituted  for  the  other  without  any  change  in 
meaning;  but  a  sentence  which  contains  both 
forms,  both  in  the  same  construction,  usually 
needs  to  be  remodeled.  The  seventh  sentence 
below,  for  example,  contains  three  infinitives, 
two  ending  in  -ing,  and  one  accompanied  by  the 
preposition  to.  The  sentence  would  be  better 
if  all  three  had  the  same  form. 

Bring  about  unity  of  structure  in  the  following 
sentences. 

1.  When  the  king  saw  how  sorely  he  was  wounded, 
and  reahzing  that  he  had  but  a  few  hours  to  live,  he 
called  his  sons  to  him.  2.  Take  time  to  do  things  well 
rather  than  trying  to  do  things  quickly.  3.  He  agreed 
to  pay  for  the  boat,  and  that  never  again  would  he  take 
anything  without  permission.  4.  We  are  said  to  be 
lacking  in  courage,  and  that  we  do  not  dare  make  the 
attack.  5.  I  decided  to  practice  daily  and,  if  oppor- 
tunity came,  I  would  enter  the  contest.  6.  The  story 
ends  by  Ivanhoe's  marrying  Rowena  and  Rebecca 
refuses  the  hand  of  Bois-Gilbert.  7.  I  like  fishing,  swim- 
ming, and  to  take  long  walks.  8.  Before  Addison  could 
fill  the  position  acceptably,  it  was  necessary  that  he 
become    acquainted   with    the    French   language,    and 


UNITY  143 

to  study  the  jiolitical  situation  in  lOuropo.  0.  liunning 
away  is  better  than  to  stay  and  be  shot.  10.  Tlu-y  Ije^an 
to  think  of  going  home,  and  wondering  whether  they 
would  ever  be  able  to  find  their  way  back  to  the  road. 
11.  There  are  two  ways  of  reaching  the  village:  first, 
by  taking  a  car  to  CJlastonbury,  then  driving  over  liigh 
hills;  second,  to  take  the  train  to  East  Hampton  and 
then  walk  five  miles.  12.  We  never  tire  of  watching  the 
moon  rise  over  the  hill-tops,  or  an  ajjproaching  storm 
gathering.  13.  The  rules  forbid  loud  talking  in  the 
corridors;  also  to  eat  lunch  at  recess  time  anywhere  ex- 
cept in  the  lunch-room. 


CHAPTER  XV 

COHERENCE 

Oftentimes  a  sentence  is  faulty  because  im- 
properly arranged,  parts  which  belong  together 
being  needlessly  separated  from  each  other. 
For  example,  words  intrude  between  subject  and 
predicate,  between  the  verb  and  its  complement; 
or  modifiers,  especially  phrases  and  clauses,  are 
placed  so  far  away  from  the  words  they  modify 
that  the  meaning  of  the  sentence  is  changed  or 
becomes  obscure. 

EXERCISE  85 

Reconstruct  the  following  sentences,  improving 
their  arrangement.  When  puzzled  in  regard  to 
where  a  phrase  or  a  clause  should  go,  try  placing 
it  at  the  beginning  of  the  sentence.  Often  this  is 
the  best  place  for  it,  certainly  much  better  than  the 
end  of  the  sentence,  where  too  often  it  dangles 
untidily. 

1.  The  two  first  boys  to  arrive  were  Arthur  and  John. 
2,  I  have  only  been  tardy  twice.     3.  He  drove  all  the 

144 


COmORENCE  145 

clouds  away  that  the  wind  had  gathered.  4.  The  dog 
almost  seems  human.  5.  He  answered  all  the  questions 
that  were  asked  him  quickly.  G.  My  uiule  lives  in  the 
country  and  of  course  keeps  chickens  like  the  majority 
of  farmers.  7.  Take  one  of  these  ])Owders  on  retiring 
in  a  little  hot  water.  8.  He  not  only  was  ])oor  but  also 
sick.  9.  He  both  excels  in  studies  and  in  athletics. 
10.  He  went  strolling  down  the  lane  with  a  smile.  11.  By 
touching  the  j^erson  who  drank  tlic  enchanted  wine  with 
her  wand,  she  changed  him  into  a  beast.  12.  The 
dancers  were  a  pleasing  sight,  dressed  in  delicate  shades 
of  blue  and  pink.  13.  He  had  no  sooner  looked  at  the 
picture  than  lie  l)ogan  to  laugh.  14.  Last  Saturday 
we  went  after  marigolds,  called  by  some  cowslips.  15.  He 
is  neither  blind  in  the  right  eye  nor  the  left.  10.  I  not 
only  forgot  my  gloves  but  my  hat  also.  17.  He  nar- 
rated the  incident  he  had  witnessed  with  minuteness  of 
detail.  18.  The  hides  are  dipped  into  first  clear  water 
and  then  into  lime.  19.  You  can  neither  borrow  the 
yacht  nor  the  canoe.  20.  Scott,  no  doubt,  in  his  novel 
Ivanhoe,  cared  less  to  make  his  readers  laugh  than  to 
show  what  was  considered  laughable  in  King  Richard's 
day.  21.  There  is  a  stone  wall  between  the  sidewalk 
and  the  lake  which  is  several  miles  long.  22.  Try  only 
to  see  the  bright  side.  23.  They  enjoy  sleeping  in  the 
open  air,  to  all  appearances.  24.  The  Queen  relates  a 
story  concerning  Arthur's  birth  which  she  was  told  by 
Bleys  to  Leodogran.  25.  Mr.  Crane  lost  a  valuable  cow 
last  week.     She  fell  into  a  large  hole  on  her  back. 


146  ENGLISH  COMPOSITION 


EXERCISE  86 

Reconstruct  the  following  sentences,  im'proving 
their  arrangement. 

1.  We  were  kept  in  camp  for  a  few  days  and  were  then 
transferred  to  a  prison,  to  our  horror.  2.  Juvenile  courts 
are  only  of  use  in  large  cities.  3.  I  shouted  for  John 
while  returning  through  the  woods  a  hundred  times. 
4.  We  remember  very  well  a  short  time  ago  a  storm  that 
did  much  damage  to  the  peach  orchards.  5.  As  Addison 
was  about  to  take  office,  William  III.  died  and  Queen  Anne 
came  to  the  throne,  who  had  a  strong  disUke  for  Whigs. 
6.  The  meetings  generally  were  held  in  the  attic.  7.  We 
thought  the  boat  would  turn  over  several  times  before 
we  reached  the  shore.  8.  An  angel  had  been  sent  to 
protect  her,  disguised  as  a  shepherd.  9.  Some  of  the 
flowers  have  already  blossomed;  all  that  is  left  of  them 
is  their  beautiful  leaves,  such  as  the  hepatica,  the  blood- 
root,  and  the  adder's-tongue.  10.  Mr.  White  is  ex- 
cavating under  his  house  on  Academy  avenue  for  a 
cellar,  now  occupied  by  Dr.  Brown.  11.  Clinging  to  the 
organ-grinder's  arm  I  saw  a  monkey.  12.  An  unknown 
man  was  found  lying  by  the  railroad  track  with  a  frac- 
tured skull.  13.  The  expert  wrestler  can  practically 
throw  his  antagonist  in  any  way  he  pleases.  14.  He 
was  kept  after  school  for  throwing  snowballs  almost  an 
hour.  15.  He  carried  the  dog  to  the  police  station 
which  he  had  found  at  his  door.  16.  Rover  finally  lost 
the  use  of  his  legs;  so  we  had  to  shoot  him  out  of  human- 
ity. 17.  Lost:  A  green  gentleman's  pocketbook  con- 
taining a  sum  of  money,  probably  on  Church  street. 


foTTKPvEXrE  1-17 

IS.  I'inally  lio  solcctcd  a  l)ir(rs-oyo  maple  lady's  writing- 
desk.  19.  Mother  put  up  a  lunch  for  we  were  to  sppiid 
the  day  in  a  tin  pail. 

EXERCISE  87 

A  participle  is  a  verbal  adjective.  That  is,  it 
takes  the  modifiers  of  a  verb  and  at  the  same  time 
modifies  a  noun  or  a  pronoun.  Skillfully  used, 
it  is  exceedingly  helpful  in  sentence-building; 
clumsily  used,  it  may  prove  but  an  annoyance. 
The  one  thing  to  remember  is  that  it  must 
modify  something.  Occasionally  an  untrained 
writer  will  make  a  participle  modify  a  word  that 
he  has  in  his  mind  but  which  is  not  expressed  at 
all  in  the  sentence.  Occasionally  he  will  use  a 
participial  phrase  in  such  a  way  that  the  reader 
must  guess  which  of  two  words  it  modifies.  In 
either  case  confusion  arises. 

The  following  sentences  contain  participial 
phrases  improperly  used.  Reconstruct  the  sen- 
tences in  such  a  way  that  the  reader  cannot  have 
the  slightest  doubt  what  word  each  phrase  modifies. 

1.  Walking  through  the  fields  in  June,  pretty  flowers 
are  seen  on  every  side.  2.  Hiding  in  this  dark  corner  of 
the  woodshed,  they  could  not  find  us,  though  they 
prowled  about  for  at  least  ten  minutes.  3.  The  solution 
of  the  problem  is  not  difllicult,  being  nothing  more  than 
an  example  in  simple  addition.     4.  A  bed  may  be  made 


148  ENGLISH  COMPOSITION 

without  difficulty,  using  hemlock  boughs  and  spreading 
them  carefully  over  the  ground.  5.  Greedily  cropping 
the  grass  by  the  wayside  w^e  could  see  a  large  red  cow. 

6.  While  eating  our  dinner  the  yacht  was  speeding  on. 

7.  Getting  up  early  in  the  morning,  the  first  thing 
noticeable  is  the  freshness  of  the  air.  8.  Standing  on  the 
platform  we  could  see  many  people  about  to  take  the 
train.  9.  The  boat  was  returned  to  its  owner,  having 
decided  not  to  go  fishing.  10.  Determined  to  go,  I  could 
not  persuade  him  to  remain. 


EXERCISE  88 

Every  'pronoun  should  have  a  definitely  ex- 
pressed, easily  discoverable  antecedent.  Recon- 
struct the  following  sentences,  making  whatever 
changes  are  necessary  for  clearness. 

1.  Boys  often  work  in  stores  at  Christmas  time  when 
they  are  short  of  help.  2.  Before  the  boat  could  reach 
the  ship  it  sank.  3.  When  he  was  brought  before  the 
judge  he  smiled.  4.  While  Henry  Houston  was  hitching 
up  his  horse  Wednesday  afternoon  in  front  of  the  Grand 
View  stable,  he  was  frightened  by  two  dogs  that  were 
fighting  and  ran  away  before  he  was  wholly  hitched  up. 
5.  Cerberus  was  an  ugly  three-headed  dog  guarding  the 
entrance  to  Hades  whose  jaws  dripped  poison.  6.  A  friend 
of  Mr.  Jones  named  King,  son  of  Commodore  King,  who 
had  been  his  college  chum,  sailed  for  Liverpool  this  after- 
noon. 7.  The  recent  discovery  of  radium  has  aided  the 
surgeon  in  many  ways,  but  it  is  as  yet  far  too  crude  to 


COHERENCE  IVJ 

know  its  full  practical  value.  S.  Fitz  James  gave  Ellen 
a  ring  which,  he  said,  the  king  had  given  him  after  saving 
his  life.  9.  Much  that  boys  see  when  sent  to  saloons 
is  at  first  revolting,  but  if  brought  in  contact  with  these 
people  too  often  they  become  used  to  it.  10.  John's 
father  died  when  he  was  quite  young.  11.  The  sail 
disappears,  and  the  top  of  the  mast  becomes  a  speck  on 
the  horizon  which  soon  vanishes.  12.  There  is  a  good 
ball-ground  here  where  they  have  games  twice  a  week. 
13.  Although  in  Massachusetts  snow-shoes  are  seldom 
necessary  in  any  snow  that  they  have,  they  are  sometimes 
a  great  aid.  14.  Between  recitations  are  whispering 
recesses,    thus    enabling    the    pupils    to  relax   a    little. 

15.  Henry  lost  his  dog  when  he  was  but  four  years  old. 

16.  No  doubt  Henry  is  clever,  but  it  will  not  make  up  for 
his  negligence.     17.  I  have  often  seen  an  advertisement 
accompanied  by  a  picture  of  a  little  chicken  underneath 
which  are  the  words  "Hasn't  scratched  yet."     Never- 
theless one  of  the  first  lessons  the  mother  hen  teaches 
them  is  how  to  scratch.     18.  Untying  her  apron-strings, 
she  tossed  it  over  the  back  of  a  chair.     19.  The  street 
on  which  I  live  is  near  the  center  of  the  city,  which  is 
very  convenient  for  shopping.     20.  In  those  days  they 
served  fish  at  wedding  feasts.     21.  A  wedding  feast  was 
to  be  given,  and  they  had  nearly  ever>^thing  ready. 
22.  The  train  did  not  leave  the  station  that  day,  for  they 
considered  the  road-bed  unsafe.     23.  Have  you  ever  been 
in  Ashuelot?     They  had  a  disastrous  freshet  there,  a 
year  ago.     24.  Uncertainty  of  weather  interferes  but 
little  with  the  game  of  hockey  in  cities,  where  they 
have  artificial  rinks.     25.  Between  Stonington  and  New 
London  the  roads  were  in  poor  condition,  for  they  were 
repairing  them.     26.  Our  defeat  was  due  to  our  lack 


150  ENGLISH  COMPOSITION 

of  training,  they  say.  27.  Occasionally  a  train  started 
out,  but  as  soon  as  the  water  rose  they  turned  back. 
28.  I  was  told  recently  that  they  adulterate  chocolate 
with  clay,  sometimes.  29.  Before  the  days  of  steam- 
cars  they  used  to  travel  by  stage  coach. 

EXERCISE  89 

The  four  exercises  immediately  preceding 
emphasize  the  fact  that  a  sentence,  to  be  easily 
understood,  must  cohere,  or  hang  together. 
Parts  closely  related  should  be  near  each  other,  or 
at  any  rate  should  be  so  placed  and  expressed  that 
their  relationship  is  readily  apparent.  The  next 
exercise  is  planned  to  show  that  sentences  are 
often  misleading  because  necessary  words  are 
lacking.  Such  omissions  are  like  ditches  which 
the  reader  has  to  bridge  before  he  can  pass  on. 
Courtesy  should  prompt  us  to  make  the  path 
that  the  reader's  mind  must  travel  as  easy  as 
possible. 

Supply  necessary  words  missing  from  the  follow- 
ing sentences. 

1.  You  make  the  custard  first,  and  when  cooked  pour 
into  the  freezer-can.  2.  Oliver  Twist,  one  of  Dickens's 
novels,  is  as  interesting  to  a  boy  as  a  girl.  3.  It  is  as 
quick,  if  not  quicker  than,  the  other.  4.  He  never  has, 
and  I  fear  he  never  will  be,  fond  of  reading.  5.  He  then 
suggested  we  go 'see  the  hens.  6.  The  instruments  used 
in  recording  the  weather  are  the  barometer,  wind-gauge, 


COHKllENCE  lol 

anemometer,  sunshine-recorder,  rain-gaup;e,  and  snow- 
gaufje.     7.  Will  the  person  who  by  mistake  took  a  bicycle 
from  in  front  of  the  post  office  yesterday  kindly  return 
or  notify  A.  M.  Clarvin?     S.  Wanted:  A  servant  who  can 
cook  and  care  for  children.     9.  It  was  a  beautiful  Juno 
evening  that  our  party  gathered  about  the  camp  fire. 
10.  Whiledriving  to  town,  the  horse  ran  away.     11.  The 
leader  directs  the  orchestra,  a  task  calling  for  great  tact, 
especially  so  since  many  players  arc  foreigners  whose 
customs  are  different  from  ours  and  are  easily  offended. 
12.  Her  character  was  c[uite  unlike  the  other  members 
of    the    family.     13.  Perhaps    squirrels    think   autumn 
too  short  a  season  to  prepare  for  winter.     14.  In  those 
days  every  lady  of  refinement,  as  well  as  man,  could 
read  Greek.     15.  Newcastle  is  only  eighteen  miles  from 
Canton,  and  v/e  knew  that  when  trains  run  on  time  it 
takes  about  an  hour.     16.  The  dog  goes  after  the  cows, 
and  he  brings  them  successfully,  if  nothing  is  the  matter, 
when  one  of  the  men  has  to  go  and  call  them.     17.  He 
showed  me  a  lot  of  medals  he  won.     18.  -He  decided  that 
he  did  not  care  for  the  position,  so  gave  it  up.     19.  She 
beats  the  mixture  till  smooth.     20.  Why  is  it  that  so  many 
more  study  French  than  Latin?     21.  We  stopped  to  get 
some  gasoline  and  oil  up.     22.  I  had  great  fun  driving 
the  horse  from  the  top  of  the  hay-load.     23.  The  training 
squad   needs   but  out-door  practice  to  develop  it  into 
as  promising  a  squad  as  the  school  has  had  for  years, 
and  from  which  can  be  picked  a  winning  team.      24.  If 
the  seams  of  your  gloves  hurt  you,   turn   inside  out. 
25.  Clean  the  meat  thoroughly,  then  roll  in  flour.     26.  Do 
not  forget  forty  pounds  is  the  limit  of  man's  pack. 
More  is  making  a  pack-mule  of  him.     27.  Saturday  is 
better   than   any   day   in    the   week.     28.  There   were 


152  ENGLISH  COMPOSITION 

twenty  posts,  with  a  space  of  ten  feet  between  each. 
29.  We  went  to  pick  flowers  and  fish.  30.  The  reader 
is  shown  first  an  EngHsh  forest,  then  a  Saxon  home; 
from  there  to  tournament  grounds  near  a  small  town, 
then  to  the  home  of  a  wealthy  Jew. 


EXERCISE  90 

The  following  sentences  contain  too  many 
words.  In  the  first,  for  example,  he  is  an  idler, 
doing  nothing.  The  phrase  for  their  destination^ 
in  the  second,  is  not  an  idler,  but  it  does  nothing 
that  is  worth  while;  for  of  course  trains  must 
start  for  their  destination.  In  the  sixteenth, 
twenty- eight  words  are  employed  to  tell  what 
half  the  number  may  be  made  to  say  quite  as 
well.  Unnecessary  words  are  simply  in  the  way; 
they  interfere  with  coherence.  It  is  a  poor  plan 
to  scrimp,  when  writing;  yet  it  is  well  for  the 
writer  who  is  inclined  to  be  extravagant  to  use 
words  as  sparingly  as  if  each  were  a  gold-piece. 

Reconstruct  the  following  sentences,  exercising 
economy. 

1.  Henry  gave  up  at  once,  but  Edward  he  stuck  to  the 
task.  2.  From  this  mammoth  station  trains  start  every 
few  minutes  for  their  destinations.  3.  After  dinner  we 
sang  some  songs  and  played  some  games.  4.  What  kind 
of  a  bird  is  it?  5.  The  sea-fight  was  a  wonderful  spec- 
tacle to  the  spectators.     6.  "I  think,"  she  said,  "that  if 


COHERENCE  153 

a  person  has  a  talent  for  anything,  even  if  it  is  only  for 
washing  windows,  that  she  should  cultivate  it."  7.  Like 
all  new  novelties,  this  device  must  win  popularity. 
8.  It  must  have  been  an  interesting  sight  to  see  the 
two  commanders  under  the  elm  tree.  9.  At  the  age  of 
fourteen  years  he  went  to  sea.  10.  I  think  that  by  leav- 
ing home  when  he  was  young  that  John  acquired  the 
ability  to  look  out  for  himself.  11.  At  about  ten  o'clock 
we  all  went  home.  12.  The  present  system  of  fore- 
casting the  weather  now  used  was  developed  in  1S70. 

13.  Although  personally  I  have  had  no  experience  my- 
self, I  can  tell  what  others  of  experience  have  reported. 

14.  Of  course  there  are  many  other  ways  of  which  I 
know  nothing  about.  15.  Ellen  skates  very  well  for  a 
new  beginner.  16.  After  talking  about  the  boat  with 
a  man  who  had  long  made  a  business  of  making  boats,  we 
decided  that  we  would  make  our  boat  of  cedar  wood. 

17.  She  did  not  look  to  see  where  she  was  going  to. 

18.  The  store  contained  drv^  goods,  groceries,  and  etc. 

19.  He  would  rather  die  than  to  live  in  disgrace.  20.  In 
some  of  the  cities  there  are  large  mills  where  cotton  goods 
are  made,  which  afford  work  for  many  people.  21.  The 
cat  stays  in  on  rainy  days  because  that  she  does  not  like 
to  wet  her  feet.  22.  The  loftiest  mountains  in  this 
fairyland,  I  do  not  think,  were  not  over  six  feet  high. 
23.  The  road  is  poor,  it  being  sandy.  24.  I  have  got  you 
now.  25.  It  was  so  foggy  we  couldn't  hardly  see  the 
shore.  26.  Where  was  I  at,  Mr.  Speaker?  27.  They 
feared  the  consequences  that  would  follow.  28.  Nearly 
every  day  we  visit  the  shore  and  go  in  bathing,  fishing, 
or  sailing. 


CHAPTER  XVI 
COREUE^C^— Continued 

Sturdiest  of  all  words,  and  hardest  worked, 
are  the  nouns  and  the  verbs.  Next,  perhaps, 
come  adjectives  and  adverbs — handmaidens,  so  to 
speak,  to  nouns  and  verbs;  little  helpers  often 
quite  indispensable.  Fewer,  and  perhaps  less 
thought  of,  yet  after  all  extremely  important,  are 
certain  words  which  serve  as  guides  or  heralds, 
leading  the  reader's  mind  from  one  part  of  a  sen- 
tence to  another  part,  or  from  one  sentence  to 
the  next,  and  explaining  the  relationship  of  what 
is  coming  to  what  has  gone  before. 

Best  known  of  all  these  guides  is  and,  which 
simply  bids  the  reader  go  right  on;  what  follows 
is  but  a  continuation,  or  is  like  what  precedes. 
And  corresponds  to  the  plus  sign  in  arithmetic. 
But,  on  the  contrary,  warns  that  exception  is  to 
be  taken  to  a  previous  statement;  it  announces 
opposition,   or  a  contrast.     If  what  follows  is 

154 


COHERENCE  15.5 

merely  an  explanation  of  what  is  behind,  there 
stands  for  announcing  a  cause  or  reason.  There- 
fore heralds  a  conclusion  or  consequence.  Then 
and  there  are  time  and  place  keepers,  helping 
the  reader  to  keep  orderly  track  of  things  as  they 
happen  one  after  another.  And,  hut,  for,  there- 
fore, then,  and  there,  to  which  may  be  added  if 
announcing  a  condition,  are  guides  which  save  a 
great  deal  of  trouble.  Or  we  may  think  of  them 
as  links  binding  together  the  parts  of  a  sentence, 
or  as  bridges  leading  from  one  statement  to 
another.  Whether  we  think  of  them  as  bridges, 
links,  guides,  or  heralds,  we  see  their  purpose. 
It  takes  years  of  practice,  however,  to  learn  to 
use  them  effectively.  Indeed,  an  untrained  writer 
is  detected  at  once  by  the  clumsiness  with  which 
he  links  statement  to  statement,  just  as  an 
unskilled  carpenter  is  betrayed  by  his  poor 
*' joinery."  The  tendency  is  to  omit  the  links 
altogether,  or  to  use  a  weak  word  where  a 
strong  one  is  needed,  or  to  use  and,  hut,  etc., 
over  and  over,  as  if  there  were  not  manv 
words  which  serve  admirably  as  synonyms  for 
each. 


156  ENGLISH  COMPOSITION 

EXERCISE  91 

The  principal  members  of  the  and  group  are 

TOO,  ALSO,  LIKEWISE,  BESIDES,  FURTHERMORE, 
MOREOVER,  AGAIN,  IN  ADDITION  TO   THIS,  IN  LIKE 

MANNER.  Select  from  this  list  a  word  or  a  phrase 
for  each  dash  in  the  following  sentences.  Try  not 
to  use  the  same  expression  twice. 

1.  He  promised  us  a  cottage  free  of  charge,  and  the 

use  of  a  boat   too.     he  said  we  might  help 

ourselves  to  his  corn  and  potatoes.  2.  The  guide 
crossed  the  fissure  by  crawling  cautiously  along  a  de- 
cayed log  which  threatened  every  moment  to  give  way 

beneath    him.      — every    member    of    his    party 

reached  the  other  side  in  safety.     3.  I  think  we  had 

better  return  at  once,  for  it  looks  like  rain.     we 

promised  to  be  back  before  dark,  and  it  is  now  after 
six  o'clock.     4.  Apples  are  indeed  a  wholesome  fruit; 

no  one  will  deny  that.     Cherries  are  excellent. 

But  give  me  peaches,  if  you  please.  5.  Think  of  the 
fun  we  shall  have  in  camp,  cooking  our  own  meals,  wash- 
ing our  own  dishes,  and    all    that.      Think  of 

the  poor  fellows  who  never  get  an  outing.  6.  Our 
opponents  may  claim  that  in  a  small  college  one  forms 

closer  friendships    with   his    classmates.     they 

may  maintain  that  in  the  smaller  institution  one  comes 
immediately  under  the  professors  and  is  not  entrusted 
to  tutors.  7.  I  think  the  girls  did  exceedingly  well,  if 
we  consider  that  they  were  younger  than  their  opponents. 
We  should  remember that  their  strongest  de- 
bater was  unable  to  be  present.      8.  Consider,  if  you 


COHERENCE  157 

please,  that  our  task  was  exceedingly  difTirult.  Con- 
sider   that  we  were  inexperienced.  9.  We  fur- 
nished them  shelter  for  the  night,  and  in  the  morning 

a    hearty   breakfast.     we    sujjplied   them  with 

money  enough  to  take  them  back  home. 

EXERCISE  92 
The  principal  members  of  the  but  group  are 

YET,  STILL,  NEVERTHELESS,  HOWEVER,  FOR  ALL 
THAT,   ON  THE    CONTRARY,  AT   THE  SAME  TIME,   ON 

THE  OTHER  HAND.  Select  jrom  this  list  a  word  or 
a  phrase  for  each  dash  in  the  following  sentences. 
Try  not  to  use  the  same  expression  twice. 

1.  Janet  is  not  a  brilliant  girl,  and  much  of  her  time 

is  given  to  home  duties.     she  is  so  persevering 

that  I  think  she  may  win  the  scholarship  prize.  2.  We 
stated  our  case  and  asked  him  to  help  us,  but  it  was  of 

no  use.     He  did  agree to  try  to  interest  others 

in  our  cause.     3.  There  are,  it  must  be  admitted,  serious 

obstacles  in  our  way,  and  we  may  fail  altogether.    

let  us  try,  and  try  hard.  4.  In  autumn,  when  the  young 
birds  have  flown,  you  can  collect  many  nests  and  study 

their  beautiful  workmanship;  pray  keep  your 

hands  off  them  while  they  are  in  use,  for  it  is  neither 
kind  nor  polite  to  meddle.  5.  It  rained  almost  con- 
tinuously throughout  the  day,  the  wind  was  cold,  and  the 

work  disagreeable.      no  one  uttered  a  word  of 

complaint.  G.  Do  you  fancy  that  Gaytown  is  an  ugly 
little  village  with  shabby  stores  and  ill-kept  streets? 
it   is  as   pretty  a  place   as   one   cares   to   see. 


158  ENGLISH  COMPOSITION 

7.  To  be  sure,  your  garden  is  ruined,  and  I  cannot  blame 
you  for  feeling  provoked.  you  should  remem- 
ber that  the  mischief-makers  were  very  little  fellows 
and  did  not  realize  what  grief  they  would  cause  you. 

8.  An  automobile   never   shies,  never  gets  tired,  never 

gets  sick.     A  horse  is  thoroughly  unreliable,  "a 

vain  thing  for  safety."  9.  Of  course  it  is  laughable  that 
we  hunted  through  meadow  after  meadow,  and  at  last 

found  the  plant  growing  in  our  own  back  yard ;  

who  ever  would  have  thought  of  looking  there  for  it ! 

EXERCISE  93 

The  principal  members  of  the  therefore  group 
are  consequently,  accordingly,  thus,  then, 
so,  hence,  as  a  result,  as  a  consequence. 
Invent  pairs  of  sentences,  in  each  case  introducing 
the  second  sentence  by  some  member  of  the  there- 
fore group.     Try  to  use  every  member. 

The  principal  members  of  the  then  group  are 

PRESENTLY,  MEANWHILE,  THEREUPON,  EVENTU- 
ALLY, TO  CONCLUDE,  THEREAFTER,  INCIDENTALLY, 

TO  CROWN  ALL.  Invent  two  or  three  short  para- 
graphs, using  in  each  as  many  of  the  above  terms  as 
you  can  conveniently. 

EXERCISE  94 

Supply  an  appropriate  word  or  phrase  for  each 
dash  in  the  following  sentences. 

1.  After  dinner  we  went  to  the  music-room,  where 
Mary  and  Helen  entertained  us  by  playing  duets.  


COHERENCE  150 

a  most  delightful  evening  was  spent.     2.  Success  in  life 

does  not  always  mean  accumulated  wealth; here 

in  America,  we  are  told,  it  is  coming  to  mean  that.    3.  In 
schools  and  colleges  we  do  not  find  education  without 

athletics;    it  has  frequently  been   shown   that 

the  exaltation  of  one  weakens  the  power  of  the  other. 

4.  Some  are  inclined  to  think  that  exercise  is  unim- 
portant;    Addison  says  that,  were  not  exercise 

absolutely  necessary  for   our  well-being,  nature  would 
not  have  made  the  body  so  proper  for  it.     5.  The  sun 

came  out, the  man  felt  warm took  off  his 

coat.     6.  A    Spaniard    was    riding    through    a    barren 
country  when  his  horse  fell  lame.     He  was  in  dismay 

he  spied  an  Indian  coming  toward  him  on  a 

fresh  horse.     7.  Owing  to  recent  storms  no  fish  could 

be  had  for  the  feast.     On  the  eventful  morning 

a  poor  fisherman  came  to  the  gate  carrying  a  large 

turbot.     8.  Isaac  stumbles  and  falls;  Wamba 

jumps  forward   and   triumphantly   waves  his   wooden 
sword. 

EXERCISE  95 

Improve  the  following  sentences  by  substituting 
better  words  or  phrases  for  the  words  italicized. 

1.  Reluctantly  the  king  ordered  his  ser\'ants  to  whip 
thelittleboy,  and  to  lay  the  blows  on  lightly.  2.  During 
the  summer  he  enjoyed  a  pleasant  outing  as  ivell  as 
earning  a  little  money.  3.  The  athlete  feels  defeat  like 
a  soldier  does  who  has  lost  a  battle.  4.  Determined  to 
get  the  man's  cloak,  the  wind  blew  harder  and  harder; 
and  the  traveler  merely  wrapt  it  the  closer  about  him. 

5.  Won  by  flattery,  I  consented  to  turn  the  grindstone; 


160  ENGLISH  COMPOSITION 

and  long  before  the  scythe  was  sharp  I  felt  sorry  that  I 
had  agreed  to  help  him,  6.  Better  keep  your  wood  dry 
by  stacking  it  under  a  tree;  and  should  rain  fall,  it  will 
remain  fairly  dry.  7.  The  Spaniard  asked  the  Indian 
to  exchange  horses,  and  the  Indian  refused;  and  the 
Spaniard  forced  him  to  do  it.  8.  The  prisoner  did  not 
dare  to  hesitate;  and  he  answered  promptly,  "The  left 
eye,  sir."  9.  I  watched  for  several  minutes  and  to  my 
surprise  I  saw  the  muskrat  reappear.  10.  At  last  the 
Wind  gave  it  up,  as  he  saw  that  it  was  of  no  use  to  blow 
any  longer.  11.  It  taught  me  a  good  lesson,  because 
after  that  I  used  greater  care.  12.  The  snow  was  knee 
deep  but  I  went  to  school;  but  I  had  to  turn  back,  as 
there  was  no  session  that  day  on  account  of  the  storm. 
13.  A  traveler  came  along  just  then,  and  the  Wind  said, 
"I  will  make  him  take  off  his  coat."  14.  He  thought  he 
was  not  strong  enough  for  the  mile  run,  and  entered  the 
half-mile.  15.  The  reason  for  the  postponement  was 
because  it  was  very  stormy.  16.  I  took  the  seven-fifteen 
train  from  Hartford  and  due  in  New  Haven  about  eight- 
forty-five.  17.  Many  objections  are  raised  against,  this 
plan.  18.  They  procured  him  a  pension  of  three  hundred 
pounds  which  besides  his  private  means  made  him  well 
off.  19.  Most  of  the  trees  are  birches,  and  there  are  a 
few  pines.     20.  It  looked  like  some  one  had  capsized. 

EXERCISE  96 

The  link- words  noted  in  the  preceding  ex- 
ercises are  by  no  means  the  only  ones.  For 
example,  the  pronouns  he,  she,  it,  this,  that,  these, 
those  are  commonly  employed  to  refer  to  some 


COHERENCE  161 

person  or  thing  previously  mentioned.  Often, 
too,  a  word  or  a  phrase  in  one  sentence  is  found 
repeated  near  the  beginning  of  the  next,  a  re- 
lationship being  thereby  pointed  out.  Open  at 
random  almost  any  well- written  book,  and  you 
will  find  that  by  one  device  or  another  sentences 
are  closely  knit  each  to  each. 

Pick  out  the  words  which  make  the  sentences  of 
the  following  paragraphs  cohere — hang  together. 

The  social  and  domestic  little  world  also,  in  which  I 
had  been  moving,  had  become  singularly  endeared  to 
me;  and  the  concern  evinced  by  them  at  my  intended 
departure  convinced  me  that  my  kind  feelmgs  were  re- 
ciprocated. Indeed,  when  at  length  the  day  arrived, 
I  did  not  dare  venture  upon  a  leave-taking  at  the  good 
dame  Antonia's;  I  saw  the  soft  heart  of  little  Dolores, 
at  least,  was  brimful  and  ready  for  an  overflow.  So  I 
bade  a  silent  adieu  to  the  palace  and  its  inmates,  and 
descended  into  the  city  as  if  intending  to  return.  There, 
however,  the  tartana  and  the  guide  were  ready;  so,  after 
taking  a  noonday's  repast  with  my  fellow  traveler  at  the 

Posada,  I  set  out  with  him  on  our  journey. 

Irving's  The  Alhambra. 

The  king,  on  his  part,  studied  how  he  might  supply,  by 
address  and  stratagem,  what  he  wanted  in  numbers  and 
strength.  He  knew  the  superiority  of  the  English,  both 
in  their  heavy-armed  cavalry,  which  were  much  better 
mounted  and  armed  than  that  of  the  Scots,  and  in  their 
archers,  who  were  better  trained  than  any  others  in  the 


162  ENGLISH  COMPOSITION 

world.  Both  these  advantages  he  resolved  to  provide 
against.  With  this  purpose,  he  led  his  army  down  into 
a  plain  near  Stirling,  called  the  Park,  near  which,  and 
beneath  it,  the  English  army  must  needs  pass  through 
a  boggy  country,  broken  with  watercourses,  while  the 
Scots  occupied  hard,  dry  ground.  He  then  caused  all 
the  ground  upon  the  front  of  his  line  of  battle,  where 
cavalry  were  likely  to  act,  to  be  dug  full  of  holes,  about 
as  deep  as  a  man's  knee.  They  were  filled  with  light 
brushwood,  and  the  turf  was  laid  on  top,  so  that  it  ap- 
peared a  plain  field,  while  in  reality  it  was  all  full  of 
these  pits,  as  a  honeycomb  is  of  holes.  He  also,  it  is  said, 
caused  steel  pikes,  called  calthrops,  to  be  scattered  up 
and  down  in  the  plain,  where  the  English  cavalry  were 
most  likely  to  advance,  trusting  in  that  manner  to  lame 
and  destroy  their  horses, 

Scott's  Tales  of  a  Grandfather. 


CHAPTER  X\'II 
PUNCTUATION 

Maxy  hard  tilings  have  been  said  of  punctua- 
tion, but  for  the  most  part  they  are  untrue. 
No  matter  what  you  may  have  heard  to  the 
contrary,  rest  assured  that  punctuation  is  ex- 
ceedingly important,  and  is  so  regarded  by  care- 
ful writers.  What  is  more,  an  examination  of 
half  a  dozen  of  our  best  magazines,  or  of  the 
works  of  our  standard  authors,  shows  conclusively 
that,  though  no  two  men  punctuate  precisely 
alike,  the  important  rules  for  the  use  of  the 
comma,  the  period,  and  the  other  points  are  well 
established.  Nor  is  it  a  difficult  matter  to  master 
these  rules,  if  one  will  but  take  pains  to  under- 
stand them.  Mere  memorizing  amounts  to  little 
or  nothing;  it  takes  brains  to  punctuate.  We 
will  begin  with  a  short  paragraph  of  general 
caution,  then  consider  carefully  a  few  of  the 
simpler  rules — the  ones  we  must  use,  in  school 

and  out,  nearly  every  time  we  write. 

163 


164  ENGLISH  COMPOSITION 

First,  before  attempting  to  punctuate  a  sen- 
tence be  sure  that  it  is  properly  constructed. 
For  if  a  sentence  is  poorly  arranged,  clumsily  put 
together,  no  amount  of  "pointing"  will  make  it 
much  better.  Second,  keep  clearly  in  mind  that 
the  purpose  of  punctuation  is  to  help  the  reader 
to  grasp  the  meaning  easily.  A  sentence  bristling 
with  commas  and  semicolons  is  more  confusing 
than  if  not  punctuated  at  all.  Therefore  use 
points  sparingly.  Third,  do  not  separate  words 
or  groups  of  words  which  belong  together. 
Almost  never  should  a  point  separate  a  subject 
from  its  predicate,  a  verb  from  its  complement,  or 
a  modifier  from  the  word  it  modifies,  unless  the 
parts  of  a  sentence  are  out  of  their  natural  order. 

How  TO  PUNCTUATE  A  SERIES. — TJse  commas  to 
separate  the  terms  of  a  series  when  they  are  all  in 
the  same  construction.  If  all  the  terms  are  connected 
by  conjunctions,  commas  may  not  be  needed;  but 
if  only  the  last  two  terms  are  so  joined,  the  comma 
should  be  used  regardless  of  the  connective. 

The  series  may  consist  of  a  number  of  nouns 
all  subjects  of  the  same  verb,  a  number  of  verbs 
having  a  common  subject,  a  number  of  modifiers 
— adjectives,  adverbs,  phrases,  or  clauses — 
governed  alike.  It  may  consist  of  the  coordinate 
clauses  of  a  compound  sentence,  and  occasionally, 
though  rarely,  of  a  number  of  short,  closely  re- 


PUNCTUATION  165 

lated  independent  statements.  The  important 
thing  to  remember  is  that  the  words  or  groups  of 
words  separated  must  be  in  the  same  construc- 
tion. 

EXERCISE  97 

Pick  out  the  words,  phrases,  and  clauses  which 
form  series  the  terms  of  which  are  in  the  same  con- 
struction.    Punctuate. 

1.  Longfellow  Wliittior  Lowell  Holmes  and  Emerson 
are  New  England  poets.     2.  It  was  a  cold  dreary  day. 

3.  He  obeyed  willingly  cheerfully  and  without  delay. 

4.  He  searched  for  it  at  home  on  the  street  at  his  office. 

5.  Limch  consisted  of  cold  tongue  bread  and  butter  and 
raspberry  tarts.  6.  Hot  or  cold  rain  or  shine  he  went 
his  rounds.  7.  He  sprang  to  his  feet  ran  to  the  stream 
and  without  hesitating  a  moment  plunged  in.  8.  He 
laughed  he  cried  he  capered  about.  9.  Tired  dis- 
couraged ready  to  give  way  to  despair  by  mere  chance 
he  found  a  way  out  of  the  difficulty.  10.  We  trade  with 
Smith  Jones  and  Company.  IL  Go  when  you  please 
where  you  please  as  often  as  you  please.  12.  Some 
books  are  to  be  tasted  others  to  be  swallowed  and  some 
few  to  be  chewed  and  digested.  13.  Thus  he  spoke  and 
willingly  they  heeded  and  obeyed.  14.  He  lights  on  the 
fence  caws  several  times  and  then  flies  off.  15.  Reading 
maketh  a  full  man  conference  a  ready  man  and  writing 
an  exact  man. 

16.  Ring  out  wild  bells  to  the  wild  sky 
The  flying  cloud  the  frosty  light. 


166  ENGLISH  COMPOSITION 

How  TO   TREAT   PARENTHETICAL   EXPRESSIONS. 

— Use  commas  to  set  off  expressions  which  in- 
terrupt the  thought  or  the  grammatical  order  of  a 
sentence. 

The  interruption  may  be  caused  by  words 
coming  between  subject  and  predicate,  or  be- 
tween a  verb  and  its  complement.  It  may 
consist  of  words  independent  by  address,  words  or 
phrases  in  apposition,  or  an  explanatory  phrase 
interrupting  a  clause.  Among  brief  expressions 
often,  though  not  always,  used  parenthetically 
or  almost  independently  are  too,  also,  more- 
over, indeed,  namely,  again,  no  doubt,  in  short, 
of  course,  consequently,  for  instance,  so  to  speak, 
in  truth.  In  a  word,  whatever  interrupts 
parenthetically  usually  needs  setting  off  by 
marks  of  some  kind,  and  most  frequently  by 
commas. 

EXERCISE  98 

Pick  out  the  expressions  which  seem  to  you  to 
interrupt  the  thought  or  the  grammatical  order 
sufficiently  to  warrant  setting  off.  Punctuate,  re- 
membering that  usually  it  takes  two  marks  to  set 
off  an  expression. 

1.  Iron  which  of  course  is  far  heavier  than  wood  sinks 
quickly.     2.  He  gave  I  am  told  all  that  he  had.     3.  No 


PUNCTUATION  167 

John  you  cannot  go.  4.  lioston  capitol  of  Massa- 
chusetts is  a  long  way  from  the  center  of  the  state.  5. 
This  by  the  way  is  where  Tennyson  once  lived.  0.  Nep- 
tune seeing  the  Greeks  so  pressed  came  to  their  assistance. 

7,  The  field  he  said  belonged   to   the  game   preserve. 

8.  Are  you  sure  sir' that  there  is  no  mistake?  9.  Men; 
energy  if  not  wisely  directed  accomplishes  nothing. 
10.  Finally  his  chair  being  deep  and  softly  cushioned 
Clifford  fell  asleep.  11.  You  are  to  speak  frankly  over- 
confident. 12.  Mary  who  by  the  way  was  not  at  home 
knew  nothing  about  it.  lo.  It  is  possible  though  un- 
usual for  a  dull  boy  to  win  great  fame.  14.  This  book 
if  you  are  willing  I  will  take  home  with  me.  15.  Emily 
I  am  pleased  to  say  is  very  well.  16.  To-day  October 
twenty-first  I  found  the  air  in  the  bushy  fields  and  lanes 
under  the  woods  loaded  with  the  ])erfume  of  the  witch- 
hazel  writes  John  Burroughs.  17.  I  pray  thee  O  Lord 
that  I  may  be  beautiful  within. 

18.  The  streams  rejoiced  that  winter's  work  is  done 
Talk  of  to-morrow's  cowslips  as  they  nni. 

EXERCISE  99 

Sometimes  parenthetical  expressions  are  so 
short  as  to  occasion  little  or  no  interruption. 
This  is  especially  true  of  certain  words  in  apposi- 
tion, and  of  adverbial  phrases  used  independently 
or  nearly  so. 

Which  of  the  jollowing  sentences  are  clear  without 
punctuation?     Haw  should  the  rest  be  punctuated? 

1.  Bring  John  too.  2.  Tliink  too  of  the  honor  they 
have  gained.     3.  It  is  indeed  pitiful.     4.  We  tried  in- 


168  ENGLISH  COMPOSITION 

deed  not  only  the  plans  you  suggested  but  many  others 
as  well.  5.  The  plan  you  outline  is  a  costly  one;  again 
it  calls  for  more  time  than  we  can  spare.  6.  You  have 
read  The  Deacon's  Masterpiece  no  doubt.  7.  No  doubt 
you  have  read  it  many  times.  8.  Perhaps  your  way  is 
better  but  I  cannot  get  used  to  it.  9.  Your  way  is  better 
perhaps  but  I  cannot  get  used  to  it.  10.  It  must  be 
then  that  he  is  displeased.  11.  He  will  come  perhaps 
but  you  had  better  not  count  on  him.  12.  A  single 
failure  however  does  not  mean  defeat.  13.  He  could 
not  have  escaped  of  course  had  it  not  been  dark.  14.  The 
novelist  Dickens  was  present  with  his  friend  Collins. 

15.  Dickens  author  of  David  Copperfield  was  born  1812. 

16.  Scott  himself  would  not  deny  it.  17.  Longfellow 
the  lecturer  was  as  delightful  as  Longfellow  the  poet. 
18.  Their  best  player  you  will  recall  was  absent.  19. 
The  main  difficulty  he  thought  was  to  find  what  one 
was  prepared  to  do.     20.  Run  child  and  tell  your  mother. 

21.  He   did  not    like  the  Puritans  scorn  all  pleasure, 

22.  He  carried  with  him  Arthur's  sword  Excalibur. 

How    TO    SET    OFF    NON-RESTRICTIVE     PHRASES 

AND  CLAUSES. — Use  commas  to  set  off  phrases 
and  clauses  when  they  are  non-restrictive. 

This  rule  is  but  a  slight  modification  of  the 
one  immediately  preceding.  A  phrase  or  a  clause 
is  restrictive  when  it  narrows  or  closely  defines 
what  it  modifies;  or  when  it  picks  out  one  thing 
from  among  several,  as  do  the  words  this  and  that. 
A  phrase  or  a  clause  is  non-restrictive  when  it 
contains  an  additional  statement,  incidental  or 


PUNCTUATION  1G9 

explanatory.  In  the  sentence  The  greatest  man 
is  he  who  does  not  lose  his  child's  heart,  the  clause 
beginning  with  who  is  restrictive.  In  the  sen- 
tence Affliction,  like  the  iron-smith,  shades  as  it 
strikes,  the  phrase  beginning  with  like  is  non- 
restrictive.  A  non-restrictive  expression,  then, 
is  really  parenthetical  in  nature. 

EXERCISE  100 

Punctuate  the  following  sentetices,  taking  care 
not  to  use  a  single  comma  unnecessarily. 

1.  The  man  who  works  dcserv^es  success.  2.  Mr. 
Clark  who  really  had  worked  very  hard  felt  that  ho 
deserved  a  reward.  3.  The  gentleman  whom  we  saw 
just  now  is  my  uncle  Henr}-.  4.  Mr.  Cavendish  whom 
you  met  yesterday  will  sail  for  Southampton  Monday. 
5.  Go  where  glory  waits.  6.  Chittenden  where  the 
horses  were  changed  and  we  had  our  lunch  is  a  little 
settlement  half-way  up  the  mountain.  7.  Bermuda 
which  is  I  think  one  of  England's  oldest  colonies  lies  near 
the  American  coast.  8.  My  father  who  is  an  enthusiastic 
fisherman  and  does  not  mind  following  a  stream  for 
hours  cannot  see  any  fun  whatever  in  hunting.  9.  Per- 
haps the  greatest  of  American  authors  is  Hawthorne 
whose  works  we  have  in  our  library.  10.  Give  this  to 
the  girl  having  the  highest  mark  in  Latin.  11.  Teddy 
having  sold  all  his  papers  went  for  more.  12.  He  who 
runs  may  read.  13.  The  boy  who  was  I  think  thoroughly 
frightened  ran  like  a  deer.     14.  Ye  who  hear  my  voice 


170  ENGLISH  COMPOSITION 

attend  my  words.  15.  The  girls  having  sung  a  song  or 
two  the  boys  took  their  turn.  16.  The  girls  having  sung 
several  songs  thought  that  it  was  their  turn  to  listen. 
17.  They  were  looking  curiously  at  the  gentleman  wear- 
ing a  green  jacket.  IS.  Take  the  road  turning  to  the 
left  just  beyond  the  barn.  19.  The  road  turning  to  the 
left  just  beyond  the  barn  climbs  a  steep  hill.  20.  The 
gain  which  is  made  at  the  expense  of  reputation  should 
be  considered  a  loss.  21.  None  but  the  brave  deserves 
the  fair.  22.  That  style  is  best  and  purest  which  needs 
the  fewest  sign-posts  to  its  sentences. 

How   TO   PUNCTUATE     A   SENTENCE    BEGINNING 

WITH  A  SUBORDINATE  ELEMENT. — When  a  de- 
pendent or  subordinate  clause  beginning  with  if, 
WHILE,  WHENEVER,  WHERE,  or  some  similar  limit- 
ing word  stands  -first,  it  is  almost  always  set  off 
from  the  rest  of  the  sentence  by  a  comma,  even 
though  the  clause  is  quite  short. 

A  long  phrase  coming  first  is  sometimes  set  off, 
especially  if  without  the  aid  of  a  comma  the  eye 
would  not  readily  perceive  where  the  phrase  ends 
and  the  rest  of  the  sentence  begins.  Perhaps 
participial  phrases  are  set  off  more  commonly 
than  any  other  kind. 


PU.XCTL'ATJOX  171 


EXERCISE   10 1 

Which  of  the  following  sentences  begin  with  de- 
pendent elements  ?     Which  need  punctuating  ? 

1.  While  we  were  eating  a  terri]:)le  thunder  storm  came 
on.  2.  As  soon  as  he  had  left  Portia  sent  a  messenger  to 
Padua.  3.  If  he  fails  you  let  me  know  at  once.  4.  In 
the  confusion  that  followed  Ben  Jones  was  forgotten. 

5.  Soon  after  the  workman  came  to  repair  the  damage. 

6.  After  the  bottom  was  nailed  on  the  ends  of  the  boards 
were  cut  off  even  with  the  sides.  7.  While  we  were  eating 
one  of  our  companions  told  a  storj-.  8.  ( )n  scanty  rations 
besieged  on  every  side  knowing  that  liope  of  succor  or 
escape  was  vain  the  garrison  has  fought  with  a  stub- 
bornness that  has  evoked  the  admiration  of  the  world. 
9.  As  you  know  Saturday  afternoon  we  went  to  Middle- 
towTi  by  boat.  10.  Among  the  famous  beauties  at  the 
court  of  the  Stuarts  was  Mary  ^'illiers  Duchess  of  Rich- 
mond and  Lennox.  11.  If  the  number  was  inexact  it  \vr>s 
scarcely  an  exaggeration.  12.  In  the  morning  we  will 
go  to  them.  13.  Crossing  the  river  by  the  new  stone 
bridge  we  were  soon  in  the  heart  of  the  city.  14.  Having 
purchased  our  tickets  we  went  in  search  of  our  state- 
rooms. 15.  Determined  to  have  every  sentence  correct 
he  rewrote  the  letter  several  times.  IG.  Admitting  all 
that  you  say  we  feel  nevertheless  that  the  wrong  was 
done  unintentionally.  17.  By  all  means  come.  IS.  Of 
those  present  six  favored  the  plan.  19.  In  the  little 
red  house  below  the  hill  you  will  find  a  family  of  bright 
youngsters.     20.  For  the  purpose  of  helping  the  back- 


172  ENGLISH  COMPOSITION 

ward  please  explain  the  problem  again.     21.  Arithmetic 
and  algebra  mastered  we  began  the  study  of  geometry. 

When  to  place  a  comma  before  a  con- 
junction.— Plax^e  a  comma  before  a  coordinate  con- 
junction (and,  but,  for,  as,  because,  or,  nor) 
if  by  so  doing  the  sentence  is  rnade  clearer.  Avoid 
placing  a  comma  before  that,  if,  whether,  when, 
WHERE,  when  they  introduce  object  clauses. 

The  justice  of  the  second  part  of  this  rule  is 
evident;  for  it  is  always  undesirable  to  separate 
a  verb  from  its  object.  The  reason  for  the  first 
part  of  the  rule  becomes  apparent  when  we  study 
certain  sentences  where,  were  not  the  comma 
used,  the  reader's  mind  would  run  on  too  rapidly 
and,  for  a  moment,  miss  the  meaning.  Take  for 
example  the  sentence  He  wears  a  dark  blue  Rus- 
sian blouse  trimmed  with  gilt  buttofis  and  dark 
blue  knickerbockers.  Without  a  comma  before  the 
conjunction  the  rapid  reader  finds  himself  trying 
to  imagine  how  a  blouse  trimmed,  with  knicker- 
bockers would  look.  Here  is  a  similarly  con- 
structed sentence:  They  were  looking  for  some  one 
who  wanted  a  carriage  or  a  trunk  carried  to  the 
depot.  The  boy  who  wrote  this  did  not  mean 
that  the  hackmen  were  looking  for  some  one  who 
wanted  a  carriage  taken  to  the  depot,  yet  that  is 
what  the  sentence  says.  A  comma  is  needed 
before  or. 


PUNCTUA'lION 


EXERCISE   102 


t  -J 


Punctuate  the  following  sentences,  using  commas 
only  when  absolutely  necessary  for  clearness. 

1.  The  ancestors  of  the  Nornmns  came  from  Norway 
Sweden  and  Denmark  and  they  are  often  called  the 
Northmen.     2.  Wickedness  takes  the  shorter  road  and 
virtue  the  longer.     3.  It  rained  and  rained  and  rained 
and   so   our  drive  was  abandoned.     4.  The  log  lazily 
floating  near  shore  was  at  last  drawn  into  the  eddy  where 
I  was  struggling  and  that  saved  my  life.     5.  He  may  be 
all  this  yet  let  us  save  his  life.     6.  He  was  a  good  athlete 
and  when  it  came  to  books  he  proved  himself  a  good 
scholar.     7.  Clay    or    sand    will    do.      8.  Saleratus  or 
common  baking  soda  will  relieve  the  pain.     9.  He  ran 
and  jumped  into  the  stream.     10.  She  added  butter  and 
milk  and   I  have  forgotten  what  else.     11.  There  we 
found  shade  trees  and  benches  to  rest  on.     12.  He  is 
slow    but   sure.     13.  Neither    half-back    nor    full-back 
could  overtake  him.     14.  He  is  not  dishonest  nor  should 
I  call  him  selfish.     15.  Of  Cooper's  thirty-two  novels 
writes  a  critic  not  more  than  half  have  ever  been  read 
and  eight  are  far  superior  to  all  the  rest.     16.  Thus  he 
spoke  and  willingly  they  heeded  and  obeyed.     17.  Did 
you  say  that  you  had  read  The  Newcomes?     IS.  Wind 
and  rain  and  frost  have  stormed  those  walls  in  vain. 
19.  I  appreciate  your  motives  but  I  cannot  accept  the 
aid  you  proffer.     20.  He  is  gone  but  not   forgotten. 
21.  It  is  the  frost  that  kills  our  wild  creatures  and  not  the 
snow  which  protects  and  keeps  them  warm.     22.  Please 
tell  him  that  we  waited  over  an  hour.     23.  I  do  not 


174  ENGLISH  COMPOSITION 

know  whether  he  will  come  or  not.  24.  He  never  came 
back  again  and  there  the  story  ends.  25.  Bassanio  said 
that  he  had  promised  never  to  part  with  it.  26.  I  Avrite 
to  tell  you  how  glad  I  am  that  you  are  coming.  27.  A 
friend  told  me  that  we  were  to  have  a  celebration  next 
Wednesday.  28.  Ask  him  if  we  may  visit  the  park. 
29.  It  is  too  bad  that  you  cannot  go. 

30.  Jack  fell  down  and  broke  his  crown 
And  Jill  came  tumbling  after. 

When  to  use  the  semicolon. — 1.  Use  the 
semicolon  as  if  it  were  a  large  comma,  placing  it 
between  phrases  or  clauses  in  the  same  construc- 
tion when  they  are  exceptionally  long  and  loosely 
connected,  or  when  one  or  both  are  so  broken  by 
commas  that,  were  not  the  semicolon  used,  the  eye 
would  not  readily  perceive  where  one  phrase  or 
clause  ends  and  the  next  begins. 

2.  Use  the  semicolon  as  if  it  were  a  small 
period,  placing  it  between  independent  sentences 
so  closely  related  in  thought  that  it  is  undesirable 
to  separate  them  with  a  period. 

One  often  reads  page  after  page  of  a  well-written 
book  without  finding  a  single  semicolon.  When 
a  semicolon  is  found,  it  is  usually  in  a  long,  com- 
plicated sentence  which  might  well  be  recast  in 
simpler  form;  or  in  a  very  short,  pithy  sentence 
such  as  is  seldom  used  in  plain  composition. 
The  young  writer  is  advised  to  make  his  sentences 
so  simple  that  the  semicolon  is  seldom  needed. 


PUNCTUATIOX  \:r, 

Always,  wlicn  hesitating  between  a  period  and  a 
semicolon,  choose  the  period.  Tliat  the  point  is 
a  convenient  one,  if  not  (juite  indispensable,  is 
shown  by  the  following  examples. 

He  told  us  how  he  had  been  left  alone  on  the 
island;  hoiv  for  ynany  days  he  had  lived  wpon  ber- 
ries, roots,  and  the  bark  of  trees;  how  at  last,  when 
nearly  dead  with  hunger  and  exposure  to  cold  winds, 
he  had  been  rescued. 

Some  there  may  be  who  think  that  if  a  thing  be 
said  often  enough,  it  must  be  true;  if  it  be  said  loud 
enough,  it  must  be  important. 

The  elephant  hath  joints,  but  not  for  courtesy; 
his  legs  are  legs  for  necessity,  not  for  flexure. 

Idleness  is  emptiness;  the  tree  in  which  the  sap 
is  stagnant  remains  fruitless. 

EXERCISE  103 

Punctuate  the  following  sentences,  usiyig  the 
semicolon  sparingly. 

1.  Honors  says  a  Chinese  maxim  come  by  diligence 
riches  spring  from  economy.  2.  One  goes  to  the  right 
the  other  to  the  left  both  are  wrong  but  in  different 
directions.  3.  Books  are  the  best  of  things  well  used 
abused  among  the  worst.  4.  He  always  went  into  the 
darkest  and  deepest  recesses  that  is  he  took  up  the  part 
which  no  one  had  touched.  5.  Do  not  take  all  the 
apples  simply  because  you  get  them  for  nothing  leave 


176  ENGLISH  COMPOSITION 

some  for  the  others.  6.  If  I  uncover  the  earth  in 
any  of  my  fields  ragweed  and  pigweed  spring  up  if  these 
are  destroyed  harvest  grass  or  quack  grass  or  purslane 
appears.  7.  He  had  to  choose  one  of  three  things: 
wealth  but  wealth  gained  dishonestly  fame  but  fame 
unjustly  acquired  or  poverty  with  honor  and  happi- 
ness. 8.  Fairfax  a  brave  soldier  but  of  mean  under- 
standing and  irresolute  temper  was  the  nominal  Lord 
General  of  the  forces  but  Cromwell  was  their  real  lord. 
9.  I  cannot  hide  what  I  am  I  must  be  sad  when  I  have 
cause  and  smile  at  no  man's  jests  eat  when  I  have 
stomach  and  wait  for  no  man's  business  laugh  when  I 
am  merry  and  claw  no  man  in  his  humor.  10.  The 
spray  of  the  billows  which  attained  in  fearful  succession 
the  foot  of  the  precipice  overflowing  the  beach  on  which 
they  so  lately  stood  flew  as  high  as  their  place  of  tem- 
porary refuge  and  the  stunning  sound  with  which  they 
dashed  against  the  rock  beneath  seemed  as  if  they  still 
demanded  the  fugitives  in  accents  of  thunder  as  their 
destined  prey. 

IL  He  that  fights  and  runs  away 
May  live  to  fight  another  day 
But  he  that  is  in  battle  slain 
Will  never  rise  to  fight  again. 

—Ray. 

How  TO  PUNCTUATE  A  SENTENCE  CONTAINING 

AN  ENUMERATION. — A  Sentence  containing  an 
enumeration  or  a  series  of  particulars  explaining 
a  previous  statement  may  be  cast  in  so  many- 
different  forms  that  it  is  impossible  to  invent 
a  rule  broad   enough  to  cover  all  cases.      We 


PUNCTUAIIOX  177 

will  therefore  not  attempt  it,  but  simply  study 
a  few  examples. 

1.  Longfellow,  Whither,  Lowell,  Emerson,  and 
Holmes  are  New  England  poets. 

2.  Five  New  England  poets  are  Longfellow, 
Whittier,  Lowell,  Emerson,  and  Holmes. 

3.  There  are  five  prominent  New  England  poets; 
namely,  Longfellow,  Whittier,  Lowell,  Emerson,  and 
Holmes. 

4.  There  are  five  promhient  New  England 
poets:  Longfellow,  Whittier,  Lowell,  Emerson,  and 
Holmes. 

5.  The  New  England  poets  are  as  follows:  Long- 
fellow, Whittier,  Lowell,  Emerson,  and  Holmes. 

When  the  reader  sees  the  colon,  he  assumes  at 
once  that  what  follows  it  will  be  an  enumeration, 
an  explanation  of  something  which  has  gone  be- 
fore, or  an  expression  in  apposition  to  something 
already  mentioned.  It  has  been  called  the  mark 
of  "expectancy  or  anticipation."  The  colon, 
then,  is  the  proper  point  to  place  before  an  enu- 
meration. It  is  not  used  in  the  second  sentence 
above,  ioi  Longfello2v,  Whittier,  etc.,  are  predicate 
nouns  and  should  not  be  separated  from  the  verb. 
Such  expressions  as  namely,  for  instance,  for 
example,  and  that  is,  when  introducing  an  enumer- 
ation, are  almost  always  preceded  by  a  semicolon 
and   followed   by   a   comma.     This   practice   is 


178  ENGLISH   COMPOSITION 

somewhat  arbitrary,  yet  there  is  something  of 
reason  in  it. 

EXERCISE  104 

Study  the  following  sentences  till  you  can 
'punctuate  them  without  hesitation  when  they  are 
written  on  the  blackboard. 

1.  Pine,  hemlock,  spruce,  and  cedar  are  evergreen 
trees.  2.  Four  common  varieties  of  evergreen  are  pine, 
hemlock,  spruce,  and  cedar.  3.  There  are  at  least  four 
common  varieties  of  evergreen:  pine,  hemlock,  spruce, 
and  cedar.  4.  The  four  varieties  of  evergreen  which  he 
mentions  are  as  follows :  pine,  hemlock,  spruce,  and  cedar. 
5.  Four  common  varieties  of  evergreen  are  these:  pine, 
hemlock,  spruce,  and  cedar.  6.  Carlyle  says,  "There  are 
but  two  ways  of  paying  a  debt:  increase  of  industry  in 
raising  income,  increase  of  thrift  in  laying  out."  7.  Per- 
haps the  greatest  lesson  which  the  lives  of  literary  men 
teach  us  is  told  in  a  single  word:  Wait!  8.  Since  Sep- 
tember first  I  have  read  three  books;  namely.  Great 
Expectations,  Kenilworth,  and  Sentimental  Tommy. 

Construct  five  sentences  in  which  the  following 
expressions  are  used:  namely,  that  is,  such  as, 
AS  FOLLOWS,  FOR  EXAMPLE.  Be  surc  not  to  place  a 
comma  after  such  as. 

Make  the  following  statement  in  as  many  different 
ways  as  you  can:  Three  well  known  works  by 
Francis  Parkman  are  Montcalm  and  Wolfe,  The 
Conspiracy  of  Pontiac,  and  The  Oregon  Trail. 


PUNCTUATIOX  170 

How  TO   TREAT  QUOTED  PASSAGES. — We  leam 

early  in  school  life  that  when  the  exact  words  of 
some  one  are  quoted  they  should  be  set  off  hv 
quotation-marks.  One  cannot  read  books  and 
newspapers  year  after  year  without  getting  this 
simple  rule  well  fixed  in  mind.  There  are, 
however,  a  number  of  mistakes  which  young 
writers  are  apt  to  make,  and  these  will  now  be 
considered. 

1.  Be  sure  that  the  ^passage  enclosed  hy  marJis 
contains  the  exact  words  of  the  one  quoted.  For 
example,  it  is  incorrect  to  write  He  said  "that 
he  could  not  come  till  Tuesday."  Either  the 
quotation-marks  should  be  removed,  or  the  sen- 
tence changed  to  read  He  said,  "  I  cannot  come 
till  Tuesday." 

2.  If  a  quoted  passage  is  made  up  of  several 
paragraphs,  place  marks  before  each  paragraph,  but 
after  the  last  paragraph  only.  For  if  each  para- 
graph were  enclosed,  the  reader  might  think  each 
a  separate  quotation. 

3.  A  quotation  within  a  quotation  is  set  off  by 
single  marks.  Note  this  sentence:  "  I  remember," 
said  he,  "  his  exact  words.  They  were  these : 
'Don't  give  up  the  ship.'  " 

4.  If  a  quoted  sentence  is  interrupted  by  some 
such  expression  as  said  he,  do  not  begin  the  first 
word  of  the  second  part  with  a  capital  simply  be- 


180  ENGLISH   COMPOSITION 

cause  it  is  preceded  by  quotation-marks.  It  is 
wrong  to  write  "  I  think,"  said  he,  "That  we 
must  go." 

5.  Never  use  a  semicolon  to  introduce  a  quota- 
tion. If  the  quoted  passage  is  long  and  formal,  it 
may  be  preceded  by  a  colon;  if  short,  a  comma  will 
do. 

6.  When  writing  conversation,  avoid  introducing 
remark  after  remark  with  He  said  or  She  said. 
Tuck  in  the  expressions  parenthetically,  or  place 
them  after  the  remarks.  Avoid  monotony  by 
using  synonyms  for  said. 

1.  When  writing  an  extended  conversation — 
something  more  than  is  found  in  a  brief  anecdote, 
indicate  by  means  of  indention  where  one  speaker 
concludes  and  another  begins. 

EXERCISE  105 

Punctuate  the  following  and  supply  capitals 
where  they  are  needed. 

Bring  to  class  a  list  of  ten  expressions  which 
may  be  substituted  for  said  he. 

1.  Yes  said  he  the  stranger  must  be  treated  cour- 
teously. 2.  He  replied  at  once  I  cannot  come  to-day 
if  to-morrow  will  do  I  will  come  then.  3.  His  last 
words  were  nearer  my  God  to  thee.  4.  What  can  I  do 
for  you  inquired  the  saleswoman?  5.  In  reading  John 
Burroughs  this  evening  I  ran  across  this  statement  for 
my  part  my  nearest  approach  to  a  strange  bedfellow 


PUNCTUATION  ISl 

is  the  little  gray  rabbit  that  has  taken  iij)  licr  abode 
under  my  study  floor.  6.  I  will  not  take  a  penny  less 
said  the  merchant  so  pay  me  my  price  and  go.  7.  I 
came  she  said  to  see  the  grand  procession  and  to  hear 
the  people  shout  long  live  the  king. 

How  TO  USE  THE  APOSTROPHE. — The  apos- 
trophe is  used  to  indicate  the  possessive  form  of 
nouns,  to  indicate  the  omission  of  one  or  more 
letters,  and  to  indicate  the  plural  of  letters  and 
figures. 

EXERCISE   io6 

Criticise  the  following  sentences. 

1.  Its  growing  dark;  lets  start  for  camp.  2.  Who's 
dog  is  it?  3.  He  purchased  a  thousand  dollar's  worth. 
4.  Are  you  fond  of  Dicken's  works?  5.  We  filled  our 
pocket's  with  apples.  6.  Your  always  losing  something. 
7.  Dot  your  is  and  cross  your  ts.  8.  She  cannot  ap- 
prove of  Harry  having  a  canoe.  9.  Where  is  you're 
gun?     10.  You  may  all  pass  to  Miss  Robbinses  room. 

11.  I    think   you   should   make   better   fours   and  7s. 

12.  He  found  a  ladies  glove. 

EXERCISE   107 

Show  that  the  meaning  of  the  following  sentences 
changes  according  as  they  are  punctuated.  Which 
of  the  sentences  need  rewriting? 

1.  Clarkson  was  the  favorite  of  the  day  after  the  battle. 
2.  Among  his  intimate  friends  were  Eustace  Budgell 


182  ENGLISH   COMPOSITION 

his  cousin  Ambrose  Phillips  and  Richard  Steele,  3.  The 
poem  was  written  about  Edward  King  a  very  dear 
friend  of  John  Milton  who  was  drowned  while  crossing 
from  England  to  Ireland.  4.  Go  see  Breakers  Ahead 
the  best  melodrama  ever  written  by  John  Nemo.  5.  John 
the  gardener  will  attend  to  it.  6.  No  fishing  is  per- 
mitted here.  7.  "May  I  go  to  New  York  for  Thanks- 
giving? Jack  invites  me."  "I  do  not  see  how  you 
can  stay  in  Albany."  8.  They  did  not  seize  the  wand 
as  the  guide  directed.  9.  Ivanhoe  marries  Rowena 
instead  of  Athelstane  as  Cedric  had  wished.  10.  We 
manufacture  everything  made  out  of  canvas  bags  tents 
awnings,  etc.  11.  The  nobleman  thinking  him  mad 
again  asked  him  to  set  a  price  on  his  fish.  12.  He 
answered  nervously  looking  this  way  and  that.  13.  The 
boy  said  the  man  was  trying  to  stand  on  his  head.  14.  He 
said  nothing  at  all. 

15.  What  do  you  think 

I'll  feed  you  for  nothing 

And  give  you  a  drink 

EXERCISE  io8 

Criticise  the  punctuation  of  the  following  sen- 
tences. 

1.  I  think,  that  they  will  come,  but  I  am  not  sure. 
2.  In  the  window  were  many  small  fancy  articles;  such 
as,  bags,  pins  of  all  descriptions  and  ribbons.  3.  As 
she  neared  the  market  place  she  heard  cries  of,  long  live 
the  king.  4.  Macaulay  was  a  man,  who  liked  to  argue. 
5.  I  am  sitting  on  the  piazza  watching  my  little  brother, 
Francis  and  another  boy,  Johnny  playing.     6.  The  story 


PUNCTUATION  183 

ends  by  Ivanhoe  marr^'ing  Rowena.  7.  "Come,  come," 
said  he,  "You're  only  jesting.  8.  In  escaping  the  riot, 
the  king  and  his  son,  Theodore  became  separated  from 
us.  9.  Among  his  intimate  friends  were  liudgell,  his 
cousin,  and  Steele.  10.  Therefore,  Antonio  was  set 
free.  11.  The  library  no  doubt,  would  interest  you. 
12.  It  was  a  cold,  dreary,  afternoon,  the  wind  was 
whistling  round  the  house  and  everything  outside 
looked  bare  and  frozen.  The  snow  was  beginning  to 
fall;  the  streets  were  deserted,  ever^-one  seemed  to  have 
shut  himself  up  for  the  night.  13.  Not  all  of  his  time 
was  spent  in  France,  during  the  winter  months  he  visited 
Italy.  14.  There  are  many  inconveniences,  for  instance; 
we  have  to  go  a  long  way  for  water.  15.  Fruits  are  very 
abundant.  Such  as  peaches  pears  and  plumus.  16.  I 
drew  out  Robinson  Crusoe.  That  being  the  only  book 
I  cared  to  read.  17.  John  went  to  the  fair,  Mary,  staid 
at  home.  18.  My  reason  for  thinking  so  is,  that  I  saw 
him  running  through  the  yard. 


EXERCISE   109 

Punctuate  the  following  sentences.  Use  all 
marks  except  the  period  sparingly. 

1.  Yes  Mr  Brown  I  will  go.  2.  London  is  I  think  the 
most  interesting  city  we  visited.  3.  Through  the  woods 
across  the  field  and  down  the  road  he  ran.  4.  I  came 
I  saw  I  conquered.  5.  ^Vhen  he  has  investigated 
thoroughly  when  he  is  perfectly  satisfied  then  we  will  go. 
6.  It  is  I  admit  a  pleasant  day  and  we  all  wish  to  go  but 
think  on  the  other  hand  how  unfair  it  would  be  to  the 


184  ENGLISH  COMPOSITION 

rest  if  we  should  leave  them  behind.  7.  The  woman 
was  weak  from  exliaustion  he  could  not  well  refuse  to  aid 
her.  8.  I  think  he  replied  that  I  recall  his  words  he  said 
if  I  mistake  not  there  are  three  roads  but  all  lead  to  town. 
9.  Brilliancy  is  well  enough  but  character  is  better  it 
stands  the  wear  and  tear  of  life.  10.  If  you  take  the 
right  hand  road  it  will  lead  you  to  Oxford  if  you  take 
the  left  it  will  lead  you  to  London.  11.  Among  Words- 
worth's contemporaries  are  Byron  Shelley  Coleridge 
and  Keats.  12.  If  any  man  doubt  my  sincerity  and 
some  may  doubt  it  I  will  try  to  satisfy  him.  13.  I  have 
seen  Edinburgh  at  last  isn't  it  a  romantic  town?  14.  I 
cannot  of  course  speak  from  experience  I  can  only  re- 
peat what  the  book  says.  15.  Dickens  is  my  favorite 
author  all  his  faults  therefore  I  readily  overlook,  16.  I 
am  quite  sure  he  is  the  one  why  do  you  ask?  17.  So 
into  the  plain  they  came  where  grew  the  grain  and 
through  this  by  and  by  they  reached  their  journeys  end. 
18.  A  very  dark  night  screened  the  sky  no  man  observed 
us  secretly  I  took  his  life.  19.  It  was  formed  of  five 
metal  plates  two  were  of  brass  two  of  tin  and  one  of  gold. 
20.  On  all  sides  were  large  trees  maples  birches  chestnuts 
all  of  which  we  were  glad  to  find.  21.  Anger  says 
Richter  wishes  that  all  mankind  had  only  one  neck  love 
that  it  had  only  one  heart  grief  two  tear-glands  pride 
two  bent  knees.  22.  The  day  was  Saturday  the  date 
June  tenth  the  time  two  o'clock  the  place  Lewis  Park 
and  our  opponents  the  Ben  Hurs.  23.  The  Friar  who  is 
unconsciously  funny  and  Wamba  who  is  by  profession 
a  jester  are  leading  humorous  characters. 

24.  Some  are  born  great  some  achieve  greatness 
And  some  have  greatness  thrust  upon  them. 


rUNCTUATION  ISo 


25.  Three  Silences  there  are  the  first  of  speech 
The  second  of  desire  the  third  of  thought. 


EXERCISE   no 

Punctuate  the  j allowing y  taking  great  fains  to 
place  periods  where  they  belong. 

1.  The  wliite  flag  meant  come  over  I  have  something 
to  tell  you  the  red  flag  meant  come  over  the  fire  is  hot 
and  we  will  make  candy  the  black  flag  meant  come  over 
I  am  lonely.  2.  Here  is  one  of  Coleridges  clever  sayings 
concerning  readers  some  like  jelly-bags  let  slip  all  that 
is  pure  and  good  and  retain  only  the  impure  some  like 
sponges  suck  up  all  and  give  it  back  again  only  a  little 
dirtier  others  read  as  the  sand  runs  in  and  out  of  the 
hour-glass  and  leaves  no  trace  behind  still  others  like 
the  slave  in  thc>  diamond  mine  retain  the  gem  and  cast 
aside  the  dross  and  dust.  3.  When  the  barbican  was 
carried  the  Sable  Knight  sent  notice  of  the  happy  event 
to  Locksley  requesting  him  at  thv  same  time  to  keep 
such  a  strict  observ'ation  on  the  castle  as  might  prevent 
the  defenders  from  combining  their  forces  for  a  sudden 
sally  and  recovering  the  outwork  which  they  had  lost 
this  the  Knight  was  chiefly  desirous  of  avoiding  con- 
scious that  the  men  whom  he  led  being  hasty  and  un- 
trained volunteers  imperfectly  armed  and  unaccustomed 
to  discipline  must  upon  any  sudden  attack  fight  at  a 
great  disadvantage  with  the  veteran  soldiers  of  the 
Norman  knights  who  were  well  provided  with  arms  both 
defensive  and  offensive  and  who  to  match  the  zeal  and 
high  spirits  of  the  besiegers  had  the  confidence  which 


186  ENGLISH  CO^irOSITION 

arises  from  perfect  discipline  and  the  habitual  use  of 
weapons.     4.  The  cave  has  double  doors  one   to   the 
north  accessible  to  men  one  to  the  south  for  gods  by  this 
men  do  not   enter.      5.  Standing  so  high  and  with  so 
little  shelter  it  was  a  cold  exposed  house  splashed  by- 
showers  drenched  by  continuous  rains  that  made  the 
gutters  to  spout  beaten  upon  and  buffeted  by  all  the 
winds  of  the  heavens  and  the  prospect  would  be  often 
black  with  tempest  and  often  white  with  the  snows  of 
winter.     6.  In  the  class  of  1903  at  Yale  writes  one  who 
should  know  fifteen  of  the  nineteen  highest  appoint- 
ments  at  graduation  fell   to   men  who  had  received 
tuition  scholarships  in  the  class  of  1902  eighteen  out 
of  thirty-three  appointments  were  made  to  hard  working 
students.     7.  The  speakers  were  as  follows  affirmative 
Jones  and  Smith  negative  Clark  and  Hermann.     8.  Our 
nine  had  the  following  battery  catcher  Johnson  pitcher 
Sullivan.     9.  Here  are  the  particulars  name  John  Smith 
height  5  ft  6  in  weight  160  lbs.     10.  Admission  fifty 
cents  children  half  price.      11.  All  mankind  states  an 
adage  may  be  divided  into  three  classes  first  and  this 
is  a  very  small  class  those  who  discover  things  for  them- 
selves second  a  somewhat  larger  class  those  who  can 
see  things  which  are  pointed  out  to  them  third  those 
who  cannot  discover  things  for  themselves  nor  can  they 
see  them  when  pointed  out  and  this  is  a  very  large  class 
indeed.     12.  If  a  man's  fortune  does  not  fit  him  it  is  like 
the  shoe  in  the  story  if  too  large  it  trips  him  up  if  too 
small  it  pinches  him.     13.  Youth  writes  Carlyle  is  to  all 
the  glad  season  of  life  but  often  only  by  what  it  hopes 
not  by  what  it  attains  or  what  it  escapes.     14.  There 
were  bright  tongues  of  fiery  cloud  burning  and  quivering 
about  them  and  the  river  brighter  than  all  fell  in  a 


PUNCTUATION  1,S7 

wavering  column  of  })ure  gold  from  jiroripicc  to  precipice 
with  the  double  urch  of  a  broad  purple  rainbow  stretched 
across  it  flashing  and  fading  alternately  in  the  wreaths 
of  spray. 

15.  What  in  me  is  dark 

Illumine  what  is  low  raise  and  support. 


CHAPTER  XVIII 
SPELLING 

A  CERTAIN  well-known  dictionary  contains  over 
317,000  terms.  The  number  is  appalling  unless 
we  bear  in  mind  that  one  may  enjoy  life  without 
mastering  the  English  language  from  A  to  Z. 
It  is  necessary,  however,  that  everyone  have 
absolute  command  over  a  reasonably  large  num- 
ber of  words — know  not  only  what  they  mean  but 
how  they  are  spelled. 

If  you  are  a  poor  speller,  bear  in  mind  that  to 
accomplish  anything  worth  accomplishing  hard 
work  is  necessary.  No  one  else  can  help  you 
very  much;  you  must  do  it — not  in  a  day  nor  a 
month,  but  by  long,  persistent  effort.  Eid  your- 
self of  the  false  notion  that  you  cannot  do  it. 
Others  may  find  it  less  difficult  than  you;  but  if 
you  will,  you  too  can  accomplish  it.  Here  are 
a  few  suggestions. 

First,  form  the  habit  of  reading  aloud  a  few 
minutes  every  day,  taking  great  pains  to  pro- 

188 


SPELLING  189 

nounce  every  word  distinctly,  correctly.  In  the 
haste  of  every-day  talk  most  of  us  clip  syllables 
and  speak  so  indistinctly  that  many  words  reach 
the  ear  mangled.  We  are  apt  to  recall,  when 
writing,  what  the  ear  has  heard  many  times, 
rather  than  what  the  eye  sees  but  occasionally  in 
the  printed  page.  Reading  aloud  every  day, 
the  eye  trying  to  see  words  just  as  they  are,  and 
the  voice  trying  to  pronounce  them  correctly, 
tends  to  lessen  this  evil. 

Second,  stop  guessing.  When  in  doubt,  con- 
sult a  good  dictionary.  But  remember  that 
merely  looking  up  a  word  does  little  good.  You 
must  note  carefully  where  the  difficulty  lies,  why 
the  word  is  hard  to  spell.  Try  to  fix  the  word  in 
your  mind  for  all  time.  Take  a  long  look  at  it, 
noting  it  carefully  syllable  by  syllable;  then  shut 
your  eyes  and  try  to  form  a  picture  of  it  in  your 
mind. 

Third,  keep  a  list  of  the  common  words  which 
you  catch  yourself  misspelling.  You  will  be 
surprised,  perhaps,  to  find  how  short  this  list  will 
be;  for  as  a  rule  we  misspell  not  a  great  many 
words  but  a  few  words  over  and  over  again. 
Study  this  list  faithfully  from  time  to  time, 
striking  out  words  as  often  as  you  are  sure  that 
you  have  mastered  them,  adding  new  ones  as 
they  appear. 


190  ENGLISH   COMPOSITION 

Fourth,  if  you  are  studying  a  foreign  language, 
especially  if  it  be  Latin,  note  the  derivation  of 
English  words.  Most  Latin  scholars  are  accurate 
spellers. 

Fifth,  learn  thoroughly  a  few  rules.  Perhaps 
there  are  exceptions  to  all  rules  for  spelling,  but 
never  mind;  even  with  exceptions,  they  are 
worth  knowing. 

Here  are  fourteen  groups  of  words  which  in- 
vestigations extending  over  several  years  show 
that  high  school  pupils  commonly  misspell  or 
misuse.  Master  each  group;  and  whenever  a 
rule  is  given,  master  that  too. 


EXERCISE  III 

Words  containing  ei  or  ie. — If  the  diph- 
thong has  the  sound  of  long  e,  i  comes  first  except 
when  the  diphthong  is  preceded  by  c. 

The  most  troublesome  words  are  those  in 
which  the  diphthong  follows  c  or  /.  Perhaps  you 
can  remember  the  rule  by  associating  it  with 
the  word  police,  in  which  i  follows  I  and  e  follows 
c.  Or  perhaps  the  following  rhyme  will  be  easily 
remembered: 

If  the  letter  c  you  spy, 
Place  the  e  before  the  i. 


SPELLING 


191 


Important  exceptions  to  the  rule  are  weird  and 
seize. 


believe 

wield 

deceive 

shriek 

deceit 


receive 
siege 
tier 
receipt 
thief  • 


perceive 

shield 

fierce 

hygiene 

yield 


retrieve 

niece 

fiend 

lief 

ceiling 


EXERCISE   112 

The  plurals  of  nouns  ending 

is  'preceded  by  a  vowel,  the  plural 
adding  s.     //  y  is  preceded  hy  a 
changes  to  i  and  es  is  added. 
Form  the  plurals  of  the  following 

lady  ferry  folly 

valley  duty  delay 

alley  tally  miscellany 

ally  fallacy  strategy 

mercy  display  ecstasy 


IN  Y. — If  Y 

is  formed  hy 
consonant,  y 

words. 

chimney 

caddy 

study 

hypocrisy 

courtesy 


EXERCISE  113 

y  before  a  suffix. — When  preceded  hy  a 
consonant,  y  changes  to  i  hefore  a  suffix  not  begin- 
ning with  I;  otherwise  it  does  not  change. 

holiness        ironical         tyrannical     driest 
dutiful  studying       ninetieth       sprier 


192  ENGLISH   COMPOSITION 

joyous  played  pitiful  annoyance 

prettily         modifier        j  oiliest  business 

weariness     pliable  appliance      drier 

EXERCISE  114 

A    CONSONANT     BEFORE     A      SUFFIX. — A     WOrd 

ending  in  a  single  consonant  preceded  by  a  single 
vowel  doubles  the  consonant  before  a  suffix  beginning 
with  a  vowel,  if  the  word  formed  is  to  be  accented 
on  the  syllable  preceding  the  suffix. 

goddess        poetess  mapped  deference 

deferred       beginner        nutting  compelling 

controlling  intermittent  occurred  preference 

remittance   admittance  summary  planned 

popped         pinned  identically  preferred 

EXERCISE  115 

Silent  e  before  a  suffix. — Silent  e  disap- 
pears before  a  suffix  beginning  with  a  vowel,  remains 
before  a  suffix  beginning  with  a  consonant.  But 
words  ending  in  ce  or  ge  usually  retain  the  e  before 
a  suffix  beginning  with  A  or  o;  and  words  ending 
in  IE  change  the  IE  to  y  before  adding  ing. 

Truly  and  duly  are  important  exceptions. 

perseverance        advertisement   peaceable 
tying  practicing  organization 


SPELLING 


193 


sponging 

senseless 

pleasurable 

manageable 

changeable 


attractiveness     definitely 
comparatively    infringement 
purity  blamable 


courageous 
describable 


sensible 
vying 


EXERCISE  ii6 

State   the  rule  governing  the  spelling  of  each 
word. 


immediately    pierce 


hungriest 
noticeable 
relieve 
baggage 


pitiable 


engagement 


shammed 

referring  necessarily 

spying  comedies 

conceivable  merciless 


conceit 

dying 

fairies 

pitiful 


EXERCISE  117 

A  homonym  is  a  word  agreeing  in  sound  with 
another  word,  but  differing  from  it  in  meaning. 
Make  sentences  containing  homonyms  of  the  fol- 
lowing words.  If  possible,  let  each  sentence  contain 
both  the  original  word  and  its  homonym. 


course 

cord 

leaf 

hew 

isle 

colonel 

pier 

base 

faint 

sight 

wave 

assent 

raise 

sweet 

skull 

sore 

piece 

core 

two 

bare 

194 


ENGLISH   COxMPOSITIOx'^ 


EXERCISE  ii8 

This  exercise  contains  pairs  of  words  so  similar 
in  sound  or  in  spelling  that  one  word  is  often 
wrongly  substituted  for  the  other.  Invent  sen- 
tences as  in  the  preceding  exercise,  letting  each 
sentence,  if  possible,  contain  a  pair. 


angel 

lose 

capital 

accept 

angle 

loose 

capitol 

except 

principal 

lead 

disease 

their 

principle 

led 

decease 

there 

coarse 

illusion 

prosecute 

past 

course 

allusion 

persecute 

passed 

affect 

proceed 

hef 

respectively 

effect 

precede 

leave 

respectfully 

cloths 

admittance 

duel 

eligible 

clothes 

admission 

dual 

legible 

diary 

statue 

human 

pillar 

dairy 

stature 

humane 

pillow 

partition 

stationary 

petition 

stationery 

SPELIJNG 


195 


EXERCISE   119 

Here   are   simple   words   that   are   misspelled 
through  mere  carelessness. 


too 

quite 

marriage 

merely 

barely 

using 

forty- four 

disobey 

attacked 

victuals 

becoming 

remedy 

altogether 

till 

queer 

whether 

across 

ninth 

neither 

hurried 

exhaust 

arose 

color 

attract 

loving 

accurate 

until 

writer 

always 

almost 

already 

destroy 

muscle 

visitor 

professor 

enemies 

success 

commerce 

despise 

divided 

also 

college 

gas 

twelfth 

speech 

afraid 

orator 

villain 

immense 

spherical 

scheme 

salary 

EXERCISE  120 

The  following  words  are  commonly  misspelled 
because  they  are  commonly  mispronounced. 

tragedy  chestnutting       athletics 

strategy  intellectual 

partner  ambassador 

surprise  bachelor 

messenger  accidentally 


farthest 
reenforcement 
genealogy 
medicinal 


196 


ENGLISH   COMPSOITION 


boundary 

sentinel 

divided 

preparation 

perseverance 

similar 

preposition 

religious 

prescription 

recognition 

undoubtedly 

emergency 

laboratory 

opportunity 

feminine 

obedience 

fiery 

surpass 

machinery 

despise 

incidentally 

military 

pronunciation 

superintendent 

probably 

melancholy 

drowned 

government 

neuralgia 

humorous 

separation 

enthusiasm 

remembrance 

accommodate 

secretary 

independent 

representative 

visible 
EXERCISE  121 

privilege 

These  words  are  troublesome  because  it  is  hard 
to  remember  whether  certain  consonants  should 
be  doubled. 


immediately 

immigrant 

occupant 

accede 

apparent 

syllable 

parallel 

excellent 

fulfil 

alert 

aperture 

apparel 

misspell 

appearance 

impel 

irresistible 

haggard 

necessary 

committee 

immaterial 

accompany 

Sl'lM.I.IXG 


107 


possession 

association 

tyrannize 

annoyance 

centennial 


recollect 

preference 

assassinate 

colossal 

massacre 


recommend 

necessity 

correspondent 

sufficient 

excel 


EXERCISE  122 

Here  are  words  that  are  difficult  because  un- 
familiar. Construct  sentences  in  which  they  are 
used  in  such  a  way  as  to  reveal  their  meaning. 

plagiarism  exorbitant  dubious  irascible 

vicious  decorous  congenial  supersede 

edible  predecessor  plausible  effervescent 

optician  convalescent  abstruse  pecuniary 


EXERCISE  123 

The  following  words  are  puzzling  for  various 
reasons.  They  are  worth  mastering,  however, 
for  all  are  in  common  use. 


dyspepsia 

righteous 

sensible 

paralyze 

benefit 

descendant 


miracle  visible 

vertical  vegetable 

organization  existence 
hypocrisy      schedule 
beneficial      fascinating 
mucilage       spherical 


souvenir 

apostrophe 

liniment 

acquire 

dilapidated 

descriptive 


198 


ENGLISH   COMPOSITION 


ridiculous 

physical 

privilege       duteous 

fallacy 

diphthong 

separate        parliament 

barbarous 

sovereign 

millinery      adjacent 

simile 

hypocrite 

fictitious       comical 

repetition 

partridge 

miraculous  lucrative 

divisible 

malady 

mysterious  comparative 

mischievous          architecture          extraordinary 

CHAPTER  XIX 
TROUBLESOME    VERBS 

Unquestionably  the  most  troublesome  part 
of  speech  is  the  verb.  To  master  it  in  all  its 
many  forms  calls  for  a  good  memory,  a  good 
brain,  and  long,  careful  practice.  Many  never 
do  master  it.  Especially  in  our  every-day  talk 
are  we  inclined  to  be  careless.  We  forget  which 
of  two  forms  is  correct,  or  we  do  not  stop  to  think. 
We  say  shall  when  we  mean  will,  and  may  when 
we  mean  can;  we  use  lay  for  lie,  and  would  for 
should;  we  commit  dozens  of  errors  which  may  be 
pardonable  in  hurried  conversation  yet  are  hardly 
to  be  overlooked  in  written  work.  The  exercises 
which  follow  are  not  interesting;  some  of  them 
are  exceedingly  difficult,  though  at  first  they  may 
seem  simple.  But  they  are  worth  mastering. 
It  takes  courage  and  a  willingness  to  endure  dis- 
agreeable things,  to  make  a  good  writer,  just  as  it 
does  to  make  a  good  athlete  or  a  good  scholar 
or  a  good  soldier. 

199 


200 


ENGLISH   COMPOSITION 


EXERCISE  124 

Study  the  following  list  of  troublesome  verbs  till 
you  know  them  so  thoroughly  that  if  a  'principal  part 
of  any  one  is  given,  you  can  without  hesitation 
supply  the  remaining  parts. 


Present 

Past 

Past  Participle 

awake 

awoke 

awaked 

beat 

beat 

beaten 

begin 

began 

begun 

bite 

bit 

bitten 

bid 

bade  or  bid 

bidden 

break 

broke 

broken 

bring 

brought 

brought 

choose 

chose 

chosen 

cling 

clung 

clung 

do 

did 

done 

drown 

drowned 

drowned 

drink 

drank 

drunk 

eat 

ate 

eaten 

fling 

flung 

flung 

flow 

flowed 

flowed 

fly 

flew 

flown 

forbid 

forbade 

forbidden 

forget 

forgot 

forgotten 

freeze 

froze 

frozen 

go 

went 

gone 

TROL'BLESOMK   VERBS 


201 


Prksent 
lay 
lead 
lie 
lie 

loose 
lose 
run 
see 
set 

shrink 
sit 
slay 
sling 
speak 
steal 
swear 
swim 
swing 
throw 
wake 
wear 
wring 
write 


Past                  P 

AST    PaKTICIPLI' 

laid 

laid 

led 

led 

lav 

lain 

lied 

lied 

loosed 

loosed 

lost 

lost 

ran 

run 

saw 

seen 

set 

set 

shrank 

shrunk 

sat 

sat 

slew 

slain 

slung 

slung 

spoke 

spoken 

stole 

stolen 

swore 

sworn 

swam 

swum 

swung  or  swang 

swung 

threw 

thrown 

waked  or  woke 

waked 

wore 

worn 

wrung 

wrung 

wrote 

written 

202  ENGLISH  COMPOSITION 


EXERCISE   125 

Without  consulting  the  previous  exercise,  insert 
verbs  as  indicated,  using  active  forms  unless 
otherwise  directed. 

1.  He  said  that  they  (pluperfect  of  awake).  2.  Try 
my    remedy.      It    can't   be    (past   participle    of   heat). 

3.  We  (past  of  hegin)  where  they  (pluperfect  of  begin). 

4.  If  you  (pluperfect  passive  of  hite)  by  the  dog,  you 
would  not  like  it.  5.  He  (past  of  hid)  James  do  as  he 
(pluperfect  passive  of  hid).  6.  Did  you  say  that  his 
arm  (past  passive  of  hreak)  ?  7.1  wish  you  (pluperfect  of 
hring)  him  along  too.  8.  I  might  have  gone  had  I  (past 
participle  of  choose).  9.  He  (past  of  ding)  to  it  that 
he  was  right.  10.  He  (past  of  do)  it.  I  saw  him  when 
he  (past  of  do)  it.  11.  Did  you  say  that  he  (past  of 
drink)  after  all  the  rest  (pluperfect  of  drink)?  12.  The 
servant  (past  of  eat)  after  the  others  (pluperfect  of  eat). 

13.  Up  he  (past  of  fling)  his  cap  and  shouted  for  joy. 

14.  The  bird  flew  in  the  same  direction  that  the  river 
(past  of  flow).  15.  After  all  the  others  (pluperfect  of 
flij),  the  old  crow  (past  of  fly)  too.  16.  He  (past 
of  forhid)  loud  talking  in  the  corridor,  17.  The 
boy   (pluperfect  of  forget)  all  about  it.     18.  My  fingers 

present  passive  of  freeze).  19.  I  wonder  if  the 
pond  (present  passive  of  freeze)  solidly.  20.  It  hap- 
pened after  they  (pluperfect  of  go)  for  help.  21.  He 
(past  of  lay)  the  apple  on  the  plate,  and  there  it  still 
lies.  22.  The  log  has  lain  for  years  just  where  it 
(past  passive  of  lay).  23.  They  (past  of  lead)  the 
way.     24.  We  (past  of  lie)  for  hours  where  you  (pluper- 


TKonuj;soML<:  nkrhs  203 

feet  of  lie).  25.  He  (past  of  /a//)  the  mattress  on  the 
ground  and  there  we  (past  of  lie).  26.  If  you  take  the 
dog,  I  fear  you  (future  of  /o.sr)  him.  27.  It  is  easy 
(infinitive  of  lose)  the  way.  28.  Hy  that  time  the  boy 
(pluperfect  of  run)  away.  29.  He  (past  of  .sec)  us  when 
we  (past  of  do)  it.  30.  As  he  (past  of  sit)  down  he 
(past  of  set)  his  hat  on  the  table.  31.  If  you  (pluper- 
fect of  set)  the  vase  on  the  shelf,  it  would  not  have  fallen. 

32.  The  dog  (pluperfect  of  shake)  the  life  out  of  the  rat. 

33.  We  (past  of  shrink)  from  the  undertaking  just  as 
you  (past  of  shrink)  from  it.  34.  He  said  the  garment 
(pluperfect  of  shrink).  35.  He  (past  of  sit)  down  in  the 
chair  that  (past  of  set)  in  the  corner.  36.  His  books 
(past  passive  of  sling)  over  his  shoulder.  37.  Not  till 
he  (pluperfect  of  speak)  did  he  consider  it  useless  to  try. 
38.  He  knew  that  the  steel  bar  (pluperfect  of  passive 
steal).  39.  I  thought  he  (pluperfect  of  sivear)  that  it  was 
true.  40.  After  he  (plujicrfect  of  sivim)  the  river,  he 
found  himself  exhausted.  41.  If  he  (pluperfect  of  throw) 
the  ball  to  first,  the  run  would  not  have  counted.  42.  You 
(past  of  ivake)  John,  but  Henry  (past  of  awoke)  of  his 
own  accord.  43.  I  wish  I  (pluperfect  of  wear)  a  heavier 
coat.  44.  She  (past  progressive  of  wring)  the  clothes 
when  the  bell  (past  of  ring).  45.  You  may  read  what 
you  (perfect  of  write). 

EXERCISE  126 
The  preceding  exercise  is  designed  to  call  at- 
tention to  mistakes  arising  through  the  use  of  one 
form  of  a  verb  when  another  is  needed;  for  ex- 
ample, the  past  form  for  the  past  participle,  as  in 
the  sentence  After  he  had  ran  a  mile,  he  fell  ex- 


204  ENGLISH  COMPOSITION 

hausted.  Another  class  of  mistakes  is  due  to  con- 
fusing verbs  that  are  similar  in  form  but  have  dif- 
ferent meanings.     Note  carefully  the  following: 

awake  awoke  awaked 

wake  woke  waked 

The  first  of  these  verbs  is  intransitive,  the 
other  transitive.  It  is  therefore  incorrect  to 
write  John  awoke  Henry.  The  correct  form  is 
John  woke  Henry.  Mary  awoke  at  six  is  correct; 
Mary  woke  at  six  is  incorrect. 

flow         flowed       flowed 
fly  flew         flown 

Rivers  flow;  birds  fly.  It  is  therefore  incorrect 
to  write  The  river  has  always  flown  by  the  mill. 

lay  laid  laid 

lie  lay  lain 

lie  lied  lied 

The  first  of  the  three  is  a  transitiv,e  verb  mean- 
ing to  place  or  to  put  down;  the  second  is  an  in- 
transitive verb  meaning  to  recline;  the  third 
means  to  tell  an  untruth.  As  a  rule  the  third 
verb  is  used  correctly,  though  it  is  easy  to  forget 
that  the  participle  is  lying,  not  lieing.  The 
other  two  are  frequently  misused.  We  write  It 
hifd  laid  there  for  years,  when  we  should  write  It 
had  lain  there  for  years;  and  He  lay  the  gloves 


'I'ROI  lil.i:S().MK    \ERBS  205 

on  the  table,  when  we  should  write  lie  laid  the 
gloves  on  the  table;  and  lie  laid  down  to  rest, 
when  he  should  write  He  lay  down  to  rest. 

loose  loosed  loosed 

lose  lost  lost 

The  first  of  these  means  to  unfasten  or  release; 
the  meaning  of  the  second  is  well  understood. 
Did  you  loose  your  gloves?  is  wrong.  The  sen- 
tence should  be  Did  you  lose  your  gloves? 

ring  rang  or  rung  rung 

wring  wrung  wrung 

We  ring  a  bell;  we  wring  wet  clothes. 

sit  sat  sat 

set  set  set 

We  sit  in  chairs;  we  set  an  object  where  we 
wish  it  to  be.  Set  down,  won't  you?  is  a  sentence 
containing  a  very  common  mistake. 

EXERCISE   127 

Complete  the  following  sentences,  using  forms  of 
AWAKE  and  WAKE  in  the  first  g/oup,  flow  and 
FLY  in  the  second  group,  and  so  on. 

1.   I at  six.     When   did   you ?     Did 

you of  your  own  arrord.  or  did  you  have  some 

one  you?     Had  he when  you  knocked? 


206  ENGLISH   COMPOSITION 

Who the  others,  yesterday  morning?     Please  see 

if  father  has ;  if  he  has  not,  please him. 

Emily  too. 

2.  Where  did  the  river  formerly ?     How  long 

has  it in  its  present  channel?     If  we  say  that  the 

brook  fairly  flew  by  the  door,  do  we  mean  simply  that 

it by  the  door?     Will  the  water  that  has 

by  the  mill  never  return?     John  carelessly  said  that  the 

river  over its  banks  last  spring.     Of  course  he 

meant  that  it its  banks  last  spring. 

3.  I   think  I   will down  for  a  few  minutes. 

Please the  blankets  out  in  the  orchard  where  you 

them  yesterday.     How  often  have  I there 

this  summer !     Where  is  my  book?     I  must  have  mis 

it.     Perhaps  it on  the  library  table.     I  think  you 

will  find  it there.     If  any  one  should  call,  do  not 

say  that  I  am  not  at  home;  for  that  would  be . 

4.  I  am  always things.     This  is   the   third 

thimble  I  have  lost  within  a  year.     How  much  time 

one while  hunting  for  lost  things !     Do  you  ever 

things? things  is  one  of  my  worst  failings. 

By  the  way,  isn't  this  nut  a  little ?     Please  get 

a  wrench  and  tighten  it.  But  do  not  get  it  too  tight; 
it  should  be  a  httle . 

5. the  bell  would  mean  twisting  it; the 

hands  would  mean  making  them  give  forth  the  sound  of 

a  bell.     Was  not  John wet  when  they  pulled  him 

out  of  the  stream !     His  cries  for  help  have  been 

in  my  ears  all  day.     How  it  did his  mother's  heart 

to  see  him  struggling  in  the  water!  Well,  get  his  clothes 
and  we  will  run  them  through  the . 

6.  He  has  set  his  heart  on  getting  the  prize,  and  has 
up  night  after  night  to  study.     Do down 


TR()('BLKSr).MK    \'I:RHS  207 

anil  let  mo  tell  }ou  iil)Out  it. your  hat  on  the 

table.     You  wi.sh  ii  fan? still  and  let  ine  get 

one.     1  ought  not  to  be here  using  one  myself 

without  offering  you  one  too.     Will  you  excuse  me  a 

minute?     Just  before  you  came  into  the room, 

I something  on  the  stove.     I'm  afraid  there  will 

be  trouble  if  it there  much  longer.     What  a  hard 

cold  you  have!     T  mistrust  you  caught  it  by on 

the  grass  yesterday  while   John   was out   the 

shrubs. 

WAS  WERE 

The  person  who  writes  John  and  Mary  ivas 
present,  or  I  thought  you  said  that  John  ivere 
the  only  one  present,  does  so  through  carelessness. 
He  knows  better,  of  course.  In  writing  con- 
ditional sentences,  however,  mistakes  arise  not 
only  through  carelessness,  but  through  misunder- 
standing what  is  correct  usage. 

There  are  two  kinds  of  conditional  sentences: 
first,  the  pure,  simple  conditional;  second,  the 
conditional  which  contains  the  idea  of  uncertainty, 
doubt,  or  a  state  of  affairs  that  is  simply  imagined 
but  does  not  really  exist.  For  example,  in  the 
sentence  If  John  is  in  town  he  will  come,  the 
writer  does  not  express  certainty  or  uncertainty, 
doubt  or  belief,  in  regard  to  John's  being  in  town. 
Nor  does  he  "make  believe"  that  John  is  in 
town.  He  simply  affirms  that  if  John  is  in  town, 
he  will  come.     The  sentence  therefore  contains 


208  ENGLISH   COMPOSITION 

a  simple  or  pure  condition.  But  had  the  sen- 
tence been  If  John  were  in  town,  he  would  come, 
the  idea  would  be  that  John  is  not  in  town.  The 
sentence  tells  merely  what  would  have  happened 
if  something  were  true  which  is  not  true.  The 
condition  is  not,  therefore,  a  simple  one;  it  is  a 
condition  "contrary  to  fact." 

In  all  sentences  where  the  condition  is  not 
simple  but  contains  the  idea  of  uncertainty  or 
supposition,  were  is  used  with  all  three  persons, 
in  the  singular  as  well  as  the  plural.  Thus  we 
have 

if  I  were  if  we  were 

if  you  were  if  you  were 

if  he  were  if  they  were 

EXERCISE  128 

Complete  the  following  sentences  hy  inserting 
WERE  and  WAS,  in  each  case  giving  a  reason  for 
your  choice. 

1.  If  I you,  I  would  tell  everything.     2. 

I  sure  of  it,  I  would  say  so.     3.  Oh I  where  I 

would  be!    4.  If  he  ■ with  you,  why  did  he  not 

tell  you  his  troubles?     5.  If  I wrong,  you  should 

have  told  me.     6. he  king,  I  would  not  obey  him. 

7.  If  he industrious,  I  shall  reward  him.     8.  If 

he industrious,  I  should  overlook  his  failures. 

9.  If  the  work done,  we  could  play.     10.  He 


TROUBLESOME   \ERIiS  209 


speaks  as  if  he in  earnest.     11.  Tf  ho 


generous,  he  would  not  treat  them  so.     12.  Suppose  you 
—  given   the  money,   what  could    you    do?    ]'.\.  Speak 

as  if  you confident.      II.   If  he cho.sen,  he 

could  not  do  the  work.     15.   If  he disappointed, 

he  has  kept  quiet  about  it.     16.  I  wish  I as  happy 

as  you.     17.  They  consulted  the  barometer  to  see  if  it 

going  to  rain.     18.  The  squirrels  are  scampering 

about  as  if  autumn all  too  short.     19.  To  him 

the  little  light  seemed  as  if  it a  comforting  friend. 

20.  The  hailstones  rattled  against  the  windows  as  if  some 

one throwing    pebbles.     21.  While    making   a 

humorous  remark  he  preserved  a  stern  expre.ssion  as  if 

what  he saying the  most  serious  thing 

imaginable. 

MAY  CAN 

Can  denotes  ability.  When  a  boy  says  I  can 
do  it,  he  means  that  he  is  able  to  do  it.  When 
he  asks  Cari  I  do  it?  he  asks  your  opinion  in 
regard  to  his  ability  to  do  something.  May  some- 
times denotes  a  wish,  as  in  the  sentence  May 
you  live  long  and  may  you  prosper;  and  some- 
times possibility  in  contrast  to  definite  assertion, 
as  in  the  sentence  I  think  he  may  be  in  the  garden, 
but  I  do  not  know  for  certain.  Its  most  common 
use,  however,  and  the  one  which  leads  to  con- 
fusion between  ca)i  and  7nay,  is  to  denote  per- 
mission. May  I  do  it?  means  Will  you  permit 
me  to  do  it? 


210  ENGLISH   COMPOSITION 

Can,  then,  denotes  ability  to  do  a  thing;  may 
denotes  permission  to  do  a  thing:  that  is  the  dis- 
tinction to  remember. 

EXERCISE  129 

Insert  can  and  may  where  they  are  needed  in  the 
following  sentences. 

1.  Father  says  I take  the  boat.     2.  He  says  I 

sail  it  better  than  he.     3. a  dog  cHmb  a 

tree?    4, we  have  some  too?     5. I  go 

with  the  rest.     6. I  have  it?     7.  You say 

that  I  did  it.     I  give  you  permission  to  say  so.    8. 

it  be  true  that  the  book  was  returned?     9. I  ask 

a  favor?     10. we  have  the  pleasure  of  your  com- 
pany to  dinner? 

Explain  the  change  in  meaning  according  as 
may  or  can  is  used  in  the  following  sentences. 

1. I  assist  you?    2. I  ride  the  bicycle? 

3.  you  go  with  us?    4. he  talk  French? 

5. they  not  see  more  than  we?     6.  He  says  you 

do  it.     7.  You go  now.     8. I  de- 
pend  on   you?     9.  I say    that   he   is   honest. 

10. you  say  that  he  will  do  it?     11.  thou 

bind  the  sweet  influences  of  Pleiades  or  loose  the  bands  of 
OrioQ? 

SHALL  WILL 

Shall  and  will  are  exceedingly  troublesome  be- 
cause each  performs  a  double  duty,  sometimes 


tRori'.Li:s(».Mi:  \i.ui',i^  l>ii 

expressing  ;i  simplo  future  anf]  snmotimes  what  is 
called  volition.  \'olition  is  an  act  of  the  will. 
When  we  say  that  we  are  determined  to  do  a  cer- 
tain thing,  we  express  volition;  so  too  when  we 
agree  to  do  it,  or  express  willingness  to  do  it. 
Unless  this  distinction  between  futurity  and 
volition  is  clearly  understood,  it  is  useless  to 
learn  the  following  rules,  which  after  all  do  not 
cover  all  possible  cases,  though  they  go  a  long 
way  towards  preventing  the  more  common 
mistakes. 

I.  To  express  a  simple  future,  use  shall  with  the 
first  person,  will  with  the  second  and  the  third. 

I  shall  go  we  shall  go 

you  will  go  you  will  go 

he  will  go  he  will  go 

II.  To  express  volition,  use  will  with  the  first 
person,  shall  with  the  secotid  and  the  third. 

I  will  go  We  will  go 

you  shall  go  you  shall  go 

he  shall  go  they  shall  go 

III.  In  a  question  use  shall  with  the  first  person; 
with  the  second  and  third  persons  use  shall  when 
shall  is  expected  in  the  answer,  will  when  will 
is  expected  in  the  answer. 

These  rules  seem  simple,  but  they  are  often 


212  ENGLISH   COMPOSITION 

difficult  to  apply;  for  sometimes  it  requires  no 
little  thought  to  determine  with  nicety  whether 
we  wish  to  express  volition  or  a  simple  future. 
Perhaps  it  will  be  well  to  study  a  few  illustrative 
sentences. 

/  shall  he  sixteen  to-morrow.     (Pure  future) 
The  speaker  here  states  what  is  bound  to  happen 
regardless  of  his  will. 

I  will  go  with  you.  (Volition) 
In  this  sentence  the  speaker  means  that  he 
agrees  to  go,  or  that  he  is  determined  to  go.  In 
either  case,  there  is  an  expression  of  the  will. 
Had  he  wished  to  express  a  simple  future  without 
any  idea  of  determination  or  willingness,  the 
sentence  would  have  been  I  shall  go  with  you. 

You  will  he  surprised,  I  think.  (Pure  future) 
The  speaker  does  not  mean  that  he  is  determined 
that  you  shall  be  surprised,  nor  that  he  is  willing 
to  have  you  surprised,  but  that  he  believes  the 
surprise  is  certain.  The  word  will  describes 
the  person  spoken  to,  of  course,  not  the  person 
speaking. 

You  shall  he  surprised.     (Volition) 
Here    the    speaker    shows    determination.     The 
surprise  shall  come,  if  he  can  possibly  bring  it 
about,   regardless  of  the  wishes  of  the  person 
addressed. 

John  will  find  me  at  home.     (Pure  future) 


'JKOL"l',I>i:S().MI':    VERBS  213 

John  shall  find  me  at  home.  (Volition) 
In  the  first  of  these  two  sentences  the  speaker, 
presumably  knowing  that  he  is  to  be  at  home  and 
that  John  is  sure  to  come,  feels  that  he  can  with 
assurance  make  the  statement  that  John  will 
find  him — cannot  help  find  him.  In  the  second, 
he  promises  to  be  at  home  when  John  calls,  or 
expresses  a  determination  that  John  shall  find 
him.  He  wills  that  it  shall  be  so;  in  other 
words,  he  exercises  volition. 

Shall  you  go  to  the  game?  (Pure  future) 
Will  you  go  to  the  game?  (Volition) 
The  first  is  an  inquiry,  pure  and  simple.  It 
expects  an  answer  containing  the  word  shall. 
The  second  is  a  petition  and  means  Will  you  agree 
to  go  to  the  game?  It  expects  an  answer  con- 
taining the  word  will  or  its  equivalent,  or  possibly 
the  word  cannot. 

EXERCISE   130 

Show  that  each  of  the  following  sentences  may 
have  two  or  more  meanings  according  as  shall 
or  WILL  is  used. 

1.  I come.      2.     I preserve    order. 

3. he  be  invited?     4.  You pay  for  it. 

5.  If  you  work  you be  rewarded.     6.  you 

try  for  the  position?     7.  What Mrs.  Grundy  say? 

8. such  things  be  permitted?    9.  You see 


214  ENGLISH   COMPOSiriON 

strange  sights.     10.  We start  Wednesday.     U. 

None  but  the  bravest win  her.     12.  The  heavens 

reveal  his  iniquity,  and  the  earth rise  up 

against  him. 

Explain  the  meaning  of  each  of  the  following 

sentences. 

1.  I  shall  meet  father  at  eight.  2.  He  will  be  on  time. 
3.  Shall  Kate  go  too?  4.  Will  you  take  me  along? 
5.  They  shall  see  what  I  can  do.  6.  I  will  hurry  along. 
7.  I  shall  get  out  of  breath,  though.  8.  You  will  pardon 
me,  I  am  sure.  9.  Thou  shalt  not  steal.  10.  Nay, 
thou  wilt  not  steal.  11.  I  will  not  have  thee  die.  12.  I 
shall  not  look  upon  his  like  again. 

Insert  the  proper  words. 

1.  We be  pleased  to  see  you  Thursday.  2.  When 

. you  come?  Make  me  a  definite  promise.   3. 

there  be  time  to  do  it?     4. we  invite  him  too? 

Would  it  be  right?     5.  I have  completed  the  task 

by  Friday.     6.  How  dark  it  grows!     We surely 

get  wet.     7.  We need  umbrellas,  I  think.    8.  We 

surely  capsize.     9.  You surely  capsize. 

10.  They surely  capsize.     11.  When I 

call  for  you?     12.  I  am  determined  that  they do 

it.     13. we  win,  do  you  think?     14. we 

be  given  a  holiday  if  we  are  good?     15.  Some  day  he 

realize  what  he  has  done.     16. we  be 

believed,  if  we  tell  such  a  story?     17.  We hear  it 

all,  then  return  to  you.     18. I  get  it  for  you. 

19.  I  think  I  — be  back  by  eight.     20.  I  think  he 

be  back  by  eight.    21.  "How,"  he  asked,  " 

we  decide  the  question?" 


TROUBLESO.MK    \KRHS  215 

SHOULD  UOri.l) 

Should  sometimes  means  oiajht,  as  in  tin*  sen- 
tence Fathers  should  l)e  polite  to  their  sons. 
Would  sometimes  means  accustomed  action,  as 
in  the  sentence  Whenever  the  bell  ranij,  the  do" 
would  bark.  But  should  and  would  are  also  used 
somewhat  like  shcdl  and  will,  should  being  the 
shall  word,  and  would  the  will  word.  Broadly 
speaking,  it  may  be  said  that  the  same  rules 
govern  both  sets  of  words.  Fortunately  con- 
fusion seldom  occurs  except  in  one  or  two  cases, 
and  perhaps  most  often  in  sentences  where  should 
and  would  are  used  with  the  first  person,  the 
temptation  being  to  use  would  where  should  is  the 
proper  form.  The  following  rule  covers  most 
cases. 

Use  WOULD  with  the  first  person  to  express  voli- 
tion; use  SHOULD  with  the  first  person  in  all  other 
cases. 

EXERCISE  131 

Keeping  the  above  rule  in  mind,  defend  the  use 
of  SHOULD  in  the  following  sentences. 

1.  If  he  were  to  come,  we  should  be  surprised.  2.  I 
knew  we  should  not  fail.  3.  If  ho  wore  to  succeed,  we 
should  be  greatly  pleased.  4.  Had  1  known  where  you 
were,  I  should  not  have  worried.  5.  I  should  be  pleased 
to  know  why  he  did  not  come.     6.  Had  we  been  treated 


216  ENGLISH   COMPOSITION 

kindly,  we  too  should  have  been  pleased.  7.  Had  I 
been  you,  I  fear  I  should  have  perished.  8.  If  you  were 
to  go,  I  should  think  you  imprudent.  9.  If  it  should  rain, 
would  you  care  to  go?  10.  If  I  were  to  see  a  bear,  I 
should  tremble  with  fear. 

Complete  the  following  sentences  by  supplying 
SHOULD  and  would  as  you  think  they  are  needed. 

1.  He  was  determined  thatl see  him.     2.  I  

like  to  know  who  that  man  is.     3.  I  thought  I  

not  like  rowing,  but  I  do  like  it.     4.  I  was  afraid  I 


be  late.     5.  Even  if  I  missed  the  train,  I be  able 

to  walk  home.     6.  If  it  were  to  offend  him,  I 

never  forgive  myself.     7.  What we  do   if  the 

water  supply  were  to  fail?     8.  We be  delighted 

to  have  you  come.     9.  If  you fail,  how  sorry  I 

■ —  be.     10.  I prefer  to  have  you  go  in  my 

place.     11.  Had  we  started  a  minute  sooner,  we 

have  caught  it.     12.  Were  I  to  fail,  I be  dis- 
couraged.    13.  He  said  we do  as  we  pleased. 

14.  I  think  you  would  try  again.     15.  At  this 

point  we like  to  ask  a  question.     16.  I  said  that 

I be  sixteen  to-morrow.     17.  You be 

surprised  to  see  how  he  has  grown.     IS.  If  you  were  to 

come  after  six,  you find  me  at  home.     19.  If  we 

were  to  start  now,  do  you  think  we be  in  time? 

20.  If  it rain, we  feel  like  going?     21.  She 

was  sure  every  minute  that  siie be  thrown  off 

and  hurt.     22.  I as  lief  do  one  thing  as  the  other. 

23.  Where I  go.     24.  If  you call  me  by 

my  real  name,  you oblige  me. 


CHAPTER    XX 
CORRECTING   PROOF 

SooNEK  or  later  nearly  every  one  has  occasion  to 
get  something  printed.  It  may  not  be  a  book, 
perhaps  nothing  more  than  a  pamphlet,  a  cir- 
cular, or  a  plain  advertisemrnt;  yet  it  is  seldom 
possible  to  escape  the  printer  altogether.  When 
"  copy"  has  been  "  set  up"  and  an  "  impression" 
taken,  the  printer  sends  to  the  writer  "proof- 
sheets";  for  there  may  have  been  errors  in  the 
manuscript  given  to  the  compositor,  and  still 
other  errors  may  have  crept  in  during  typesetting. 
Then  comes  proof-reading. 

Every  one  should  know  how  to  correct  proof. 
But  to  do  this  easily  one  must  first  learn  to  use 
certain  symbols,  a  kind  of  sign-language  cm- 
ployed  by  printers.  Usually  it  takes  two  marks 
or  signs  to  indicate  a  desired  correction,  one  in 
the  printed  matter  to  point  out  where  the  change 
is  to  be  made,  and  one  in  the  broad  margin  always 
found  in  proof-sheets  to  tell  the  printer  what 

217 


218  ENGLISH   COMPOSITION 

change  to  make.     The  most  important  of  these 
signs  are  the  following: 

^  Insert  at  this  pnint.  That  which  is  to  be 
inserted  is  placed  in  the  margin.  If  a 
letter,  a  word,  or  a  punctuation-mark  is 
wrong,  a  line  is  drawn  through  it,  and  the 
right  letter,  word,  or  punctuation-mark  is 
placed  in  the  margin. 

(^  Insert  or  substitute  a  period  at  the  point  indi- 
cated. 

\^^    Insert  an  apostrophe. 

\^  \^  Insert  quotation-marks. 

»       Insert  a  hyphen. 

sfj=     Make  a  space  at  the  point  indicated. 

O      Join. 

S-      Take  out.     A  line  is  drawn  through  whatever 
is  to  be  removed. 

* .  c .  Change  from  capital  to  small  letter.  The  small 
letters  are  kept  in  the  compositor's  lower 
case. 

dOyfy.      Change  to  capital. 

-*^^^-     Change  to  italics. 

^^^^*y^.  CJiange  to  roman  type.  In  preparing  copy  for 
the  printer  the  writer  imderlines  once  words 
to  be  put  in  italics,  twice  words  to  be  put 
in  small  capitals,  thuee  times  words  to  be 
put  in  large  capitals. 


C'ORRKfniXC    TRooF  219 

tu-.-i.     "'""".'//""/■      IJiiil  is,  the  letter  thr()iji;li  which 
^  a  line  is  (hawn   is  not  of  the  proi)er  size  or 

yLyle. 
X        Dejcciivc  inpr. 
9       Letter  upside  doim. 
^        Transpose.        The      words  or      letters      whirh 
should      change      places      are      hnl<(>d      by 

<5r  Begin  a  new  parayraph  licrr.  When  the  break 
occurs  in  a  hne,  the  dividing  point  is  indi- 
cated by  an  \ 

TtjcT  ^    No  paragraph  here. 

,4^trt.  Restore.  If  llie  i)roof-reader  makes  a  change 
which  afterwards  he  finds  unnecessary,  he 
places  a  row  of  dots  underneath  his  blunder, 
and  writes  stet.  in  the  margin. 

Qu.     Is  this  right  ?     These   two   symbols  are   used 
^  principally  by  the  printer  to  call  the  writer's 

.  attention    to    something    wrong    which    he 

thinks  may  have  escaped  attention. 

The  main  thing  in  correcting  proof  is  to  make 
the  printer  understand  what  is  wanted.  It  is 
better  to  write  out  corrections  in  full,  if  bv  so 
doing  the  desired  change  can  be  more  clearly 
indicated.  Where  several  corrections  occur  in 
the  same  line,  they  should  be  separated  by  an 
obUque  /  line.  Just  how  this  is  done,  and  how 
the  various  symbols  are  employed,  will  be  seen 
in  the  following  exercise. 


220  ENGLISH  COMPOSITION 


EXERCISE   132 

Explain  the  meaning  of  the  symbols  found  in  this 
specimen  proof-sheet. 

Ca^jLt../  The  three  spinsters. 

.-<fc  c./    There  was  once  a  girl  who  was  lazy  and  would 

yz^yru  /  ^  sp^'w  and  her  mother  could  not  persuade  her 

', /  to  do  it.  do  what  she  would.     At  last  the  mother 

became  angry  and  out  of  pat/lience,  and  gave    ^ 
£.c./   her  a  good  ^eating,  so  that  she  cried  out  loudly. 
fl^  cfj-/   f  At  that  moment  the  ^ueen  was  going  by<   ^s  caji./ qJco^.I 
y      she  heard  the  crying  she  stopped  and,  goin^into  :^  ' 

the  house,  she  asked  the  mother  why  she  was 
O       beating  her  dauglOer  so  that  everyone  outside 

in  the  street  could  hear  her  criei.l  The  woman    '7/ 
was  ashamed  to  tell  of  her  daughters  laziness,      ^y/ 
;/  ^'f    so   she  said  I  cannot  stop  her  from   spinning. 
A'  9/ She  is  for/ever  at  y^t,    and    I   am   poor  andean'    «/ 
not  furnish  her  with  flax  enough." 

Then  f  answered]  the  Queerk   "I  like   nothing    ^./ 
.^yCa^K./    better   the   sound   of    the   spinning   wheel;   let 

me  take  your  daughter  with  me  to  castle  1  have   '^^^^/^./ 
,1     plenty  of  flaxy  she  shall  spin  there  to  her  heart's  •  / 

content." 

The  mcth.er  was  cnly  1-erglad  of  the  offer,  and  Z^/ 
the  Queeji  tcck  the  girl  with  her.     Wh^^the 
Queen.  sKowed  her  three  rooms  which,j>«5fe  filled 
^/«r,//witX  the  fines^flax  as  full  as  thep-tSould  hold. 

/       "Now  yoU;C^*-spin  me^tnis  flax,"  said  she,.?)wi'>f- 
'/  .and  when  you  can  show  it  me  all  done  you  shall  / 

w    nave  my  eldest  son  for  bridegroom.     You  may 
ylf  be  pool,   but  I  make  nothiiig  of  that.     Your     i 
industry  is  dowry  enough." 

Grimm,  Brothers.      .ot:aj^/ 


■// 


Mi^/ 


XJu<^  ruju-'.^i^  .^6^  CA»Z^  / 


CORRECTING    i'ROOl"  221 


EXERCISE    133 


Point  out  the  errors  in  the  jolloivimj  ynutilated 
extract  from  Irving\s  Legend  0/  Sleepy  Hollow,  and 
explain  to  the  class  what  symbols  you  would  use 
in  telling  the  printer  to  correct  these  errors. 

Poor  rip  was  atlast  reduced  almost  to  despair; 
and  his  only  alternative,  to  escape  the  labor  of  the 
farm  and  the  clamor  of  his  wife,  was  to  take  in 
hand  his  gun  and  stroll  away  in  to  the  woods. 
Here  he  would  sometimes  seat  himself  at  the  foot 
of  a  tree,  and  share  the  contents  of  his  wallet  with 
Wolfe,  with  whom  he  sympathized  as  a  fellow- 
sufferer  in  persecution. 

"  Poor  Wolf,"  he  would  say  thy  mistres  leads 
thee  a  dogs  life  of  it  But  never  mind  my  lad, 
whilst  I  live  live  thou  shalst  never  want  a  friend 
to  stand  by  thee!" 

Wolf  would  wag  his  tail,  look  wistfully  in  his 
masters  face;  And  if  dogs  can  feel  pity,  I  verily 
beleave  he  reciprocated  the  sentiment  with  all 
his  heart. 

EXERCISE   134 

The  following  anecdote  is  taken  from  The 
Youth^s  Companion.  But  many  changes  have 
been  made.  Here  and  there  a  word  has  been 
misspelled  or  omitted.     Puuctuatiun-murks  have 


222  ENGLISH   COMPOSITIOxN' 

been  removed  or  otherwise  tampered  with.  The 
conversation  has  been  printed  solidly;  that  is, 
each  remark  no  longer  appears  as  a  separate  para- 
graph. In  the  original,  the  word  Tribune  is,  very 
properly,  printed  in  italics;  here  it  is  in  romans. 
How  would  you  indicate  hy  means  of  printer'' s 
symbols  the  changes  that  should  be  made  to  restore 
this  anecdote  to  its  original  form?  How  would 
you  indicate  that  at  its  head  should  stand  in  large 
capitals  the  title  He  paid  his  debt  promptly  ? 

A  train  was  just  starting  to  leave  suburban  station  says 
the  New  York  Tribune  when  an  olderly  man  rushed  acrost 
the  platform  and  jumped  on  one  of  slowly  moving  cars 
the  rear  end  brakeman  who  was  standing  by  reached  up 
just  as  the  the  man  got  abroad  grabbed  his  coat  tails  and 
pulled  him  off  there  he  said  sternly  I  have  saved  your  life ! 
dont  ever  try  to  board  a  train  that  way  again  Thank 
you  said  the  old  man  calmly  thank  you  for  your  thought- 
ful kindness  it  is  three  hours  till  the  next  trane  isent  it 
three  hours  and  a  quarter  said  the  breakman  But  it 
is  better  to  wait  that  length  of  time  then  be  killed.  The 
long  train,  mean  while  had  been  slowly  gliding  by  slowly 
gathering  Spead.  Finaly  the  {ast  car  apeared.  This 
was  the  brakeman 's  car  the  one  for  which  he  had  been 
waiting  and  with  the  easy  grace  borne  of  long  practice  he 
started  to  step  magestcly  on  it.  But  the  old  gentleman 
siezed  him  by  the  coat  and  with  a  strong  jerk  pulled  him 
back  and  held  him  until  it  was  too.  One  good  turn 
deserves  another  said  the  old  gentleman  with  a  smile, 
you  saved  my  life  I  have  saved  yours  now  we  arequits. 


( ()i{pvi;("i  i.\<;  I 'i{( )()!•'  223 


EXERCISE   135 

Ccypy  as  carelessly  as  you  please  any  ten-line 
anecdote  from  the  Youth's  CoiMPanion  or  some 
other  periodical,  then  indicate  by  means  of  printer^s 
symbols  what  corrections  should  be  made  to  restore 
it  to  its  original  form. 


INDEX 


Alhnmhrn,  extrart  from.   ir>l 
Appositioiial  nlirases,  122- 123 
Argument,  49-57 

Befnrr  mul  after,  pupil's  theme, 

100-101 
Bunsbi/,    extract   from    Dombcy 

and  Son,  47 

Child  Handel,   illustration,  12 
Clauses:     picking  out,    117-llH; 
substituting  phrases  for,  120- 
124;   dependent  used  a.s  inde- 
pendent, 131-2 
Coherence:     rearrangement   of 
elements,       144   147;        unat- 
tached     participial      phrases, 
147-148;     pronouns    without 
clearly    defined     antecedents, 
148-150;    words  otnitted.  1;'0- 
152;    unnecessary  words,  152- 
153;     introductory    and    con- 
necting words,  154-1()2 
Connectives,  154-ir)2 
Contrast  and  comparison.  09- 104 
Conversation,  133-i;U,  179-181 
Correcting  Proof,  217-223 

Debate.  49-57 

Dependent     elements     wront'ly 

used  as  independent,  131-2 
Description,  3()-48 
Dining-room,  architect's  drawing 

of,  40 


Exriling   contest,   pupil's    theme, 

20 
Exposition,  22-.35 

Franklin's  birthplace,  illustration, 
38 

How  to  pitch  a  tent,  extract,  32- 
34 

Incident  of  the  French  camp,  9-10 
Indirect    and    direct    discourse, 

1.33   134 
Infinitive    constructions,  121-4 

141    143 
Introductory  words,  154-162 

iM-st  muster,  illustration.  98 
Letter- writinc::      parts    of    a 
complete  letter.  .")8-()9;    speci- 
men letters,   70-81;    tasks  in 
letter  MTiting,  80-88 

May  and  can,  209-210 
MiscEi.i.ANEors      exercises      in 
composition,  99-110 

A'«(7«.  29-31 
Narration,  3-21 

Participial      phrases,      121-124, 

141    14.3.  147-14S 
Pronouns.  148-1.50 
Proof-correcting,  217-223 


225 


226 


iNDE>^ 


Punctuation:  general  advice, 
164;  series,  164-165;  paren- 
thetical expressions,  166-lb8; 
non-restrictive  clauses,  168- 
170;  sentences  beginning  with 
subordinate  elements,  170- 
172;  comma  before  a  conjunc- 
tion, 172-174;  semicolon 
174-6;  enumerations,  176-8 
quoted  passages,  179-181 
apostrophe,  181;  miscellane- 
ous exercises,  181-187 

Repetition,  unpleasant,  134-6 

Reproduction,  3-12 

Rydal  Water,  illustration,  45 

Sad  little  lass,  8 

School  compositions  to  criticise, 

14,  20 
Seeing    the    dog    swim,     pupil's 

theme,  14 
Sentence  Analysis,  113-118 
Shall  and  will,  210-214 
Should  and  would,  215-216 
Snow-bound,  illustration,  102 
Song  of  the  lark,  illustration,  46 
Spelling,  188-198 
Stoby-telling,  89-98 


Spbstitution     and     Combina- 
tion, 119-136 

Tales  of  a  grandfather,   extract 

from,  161-2 
Trossachs,  description  of,  44 
Troublesome  V'erbs,  199-216 

Unity:  subordinating  minor 
statements,  122-126;  combin- 
ing sentences  closely  related, 
125-127;  breaking  up  sen- 
tences loosely  constructed, 
127-131;  unity  in  person, 
member,  and  gender,  137-139; 
unity  in  tense  and  mode,  139- 
140;  coordinate  conjunctions 
wrongly  used,  140-141;  faulty 
participial  and  infinitive  con- 
structions, 141-143 

Untraveled  road,  illustration,  103 

Visit,  The,  illustration,  110 
Verbs,  troublesome,  199-216 

Was  and  were,  207-209 
IFe//— pupil's  theme,  106-107 
Words  omitted  or  intruded,  150- 
153 


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